The Value of Urban Open Space*' Lawrence Halprin April 6, 7:30 p.m.
Wednesday Lecture Series Wyer Auditorium Denver Public Library 1357 Broadway
"Traditional Housing of the South Pacific"
Dr. D. Stafford Woolard , Director
Â»f p^^-mnHprnism: Milan 19fg-
Graduate Division of Architecture UCD
April 26 - May 26, 9-5 weekdays Bromley Bldg. 2nd floor Lawrence and 14th Streets
t V %% â– .
A %S v
April 15, 7:15 p.m.
UCD East Classroom 116
Recent Architectural Projects"
Adele Santos, University of Pennsylvania April 7, 8:00 p.m.
Boulder Campus Fine Arts Building Room N141
"Denver, the City of Parks by Don D. Etter April 20, 7:30 p.m.
Wednesday Lecture Series Wyer Auditorium Denver Public Library 1357 Broadway
"S.R. DeBoer Remembered with Janis Falkenberg April 27, 7:30 p.m. Wednesday Lecture Series Wyer Auditorium Denver Public Library 1357 Broadway
"The In-Between in Architecture: Shelter and Metaphysics"
Sci Arch Los Angeles
April 8, 7:15 p.m.
UCD East Classroom 116
"The Reflective Practitioner" Donald Schon, MIT April 21, 8:00 p.m.
Boulder Campus Fine Arts Bldg., N141
"Sculpture, Dance, Architecture: Rhythm as Form."
Diana Shaffer, Ft. Worth April 28, 8:00 p.m.
Boulder Campus Fine Arts Bldg. N141
"The Evolution of the Urban Park" Kenneth Helphand
April 13, 7:30 p.m. Wyer Auditorium Denver Public Library 1357 Broadway
"The Future of Denver Parks with Billie Bramhall.
May 4, 7:30 p.m.
Wednesday Lecture Series Wyer Auditorium Denver Public Library 1357 Broadway
"Herbert Bayer: From the Bauhaus m Aerâ€ž . Gwen Chanzit, Consultant Coordinator, ^ â€” Herbert Bayer Archives, Denver Art Museum
May 6, Friday
East Classroom 116 1100 14th Street
"Designers; Whose Business Do They Mind?"
W. Mike Martin, CU Boulder O
April 14, 8:00 p.m Boulder Campus
"Techincal Rendering & Perspective.
A 2 day seminar - for further information call continuing Ed. at Boulder.
April 22 & 23 ^^ggg|PÂ®
C.U. Boulder Cont inuing Ed
1 \->| N'T/ '
Many attractive euburbaB *bopplng districts are part of Loe Angslss. The "Miracle Milo"
eo named because of Ue rapid development, and I* one of the most Interesting. Many of
the leading downtown retail and department
^ stores have established beautiful and unique shops along this "Fifth Avenue of the West.**
Laminations is published fitfully by the students of the Deezine Club and ? the College of Design and | Planning, UCD, 1100 14th Z Street, Denver, Colorado 80202
s The Editorial Staff and Â« particularly the official S representatives of the * University wish to distance themselves fully from any dumb ideas promulgated on these pages,
/ V * t<1 ><9
i POST CARD
> and associate fully with : currently fashionable s trends in design and good s taste
2 Laminations would be pleased â€¢j to publish pithy orations, peevish fulminations, plain-tive lamentations, or joyous commemorations by students, faculty, or professionals. Send any and all epistles to Room 401, Bromley.
11 tecetvt TtACTloT iutetviev. axcVvitect
=Aotva. Yte sa'js tYiat in tYie earl'j 10 s Yv\s txrm0 oÂ° QÂ°|
â€interior design votY., MYvenÂ« Q0
stons. Ue says began accepting more asked about the shift irom architecture to a stronger concentration on interiors, Gwathmey said that, " .. .the only difficulty was a lack of familiarity with the trade resources.. .the design process is the same.
If what Gwathmey says is true, then why the split in the professions'*, and why the separation between the programs within the school'*, Armed with questions like these the staff set off in search of the truth. Vie figured that the best place to learn about interior design would be the local designers' cocktail parties. It was an educational experience for us all.
Vie compiled a list of some of the best stuff we fover^heard*.
Oh, you work for an interiors firm*, so you don't really do architecture.
Interior designers'*, gee, they can sure screw up a building.
here' a a beauty*.
Interior design'*, oh, you mean picking] out sofas and dinettes.
Another great bit of info*.
If you want to know which colors toi the towels at Way D&F are always oil season ahead.
In vino veritasâ€”hmm, 1 guess Gwathmey
pher Nims is acting director* of lerior Design Program of UCD registered architect. He has i for Gensler and Associates-tects for 6 years,
Chris, in this issue of Laminations, we're talking about interiors and the relationship between interior design and architecture. Very generally, how would you compare the two?
ilMS: The vocabulary of the interior designer and the architect is the same. Both deal with form, volume, light, color, etc. We are all designers.
LAM: What about the differences between the two professions?
NIMS: Architects have to be licensed,
interior designers don't. I chose to practice interior design because the level of design awareness and the attention to detail is greater.
LAM: Let's talk about education. Yesterday, Charles Gwathmey told a group of students here that to learn architecture in three years is impossible. Do you agree?
NIMS: I agree entirely. Interior Design and Architecture are art forms.
You cannot develop a sensitivity to
design in three years.
LAM: If you can't develop these skills in three years, then what is the emphasis of the interiors program at UCD?
NIMS: It's the same as architecture - the school provides the overall skills that allow the student to be marketable. After that it's up to the student.
LAM: Do you agree with Gwathmey*s recommendations that students practice painting, drawing and sculpture as part of their design education?
Yes, if you practice and understand painting and sculpture, you increase your sensitivity as a designer.
Yet, as students we cannot receive graduate credits for fine art courses taken here on campus.
Yes, and that is too bad. It's unfortunate, but it is because three years is just too short. But
I guarantee that the ones who push themselves to do these things on their own will be the more prepared professionals.
LAM: What about UCD's philosophy regarding the relationship between architecture and interior design?
OuaJ approach is to cross curricu-lums.
NIMS: It's not working yet, but we're moving in that direction.
LAM: In what way specifically?
NIMS: First of all, just by having both curriculums here you increase the exposure of one to the other. In graphics - our interiors students now take graphics with the architectural students.
LAM: What about design? You've said, we
are all first and foremost designers. \Jouldn* 11 it make sense for interiors students and architecture students to take the same initial design courses?
NIMS: Yes, I .think they should.
LAM: Why doesn't the school do this?
(continued on page 8)
SEE IT1 J
Annual trade shows and market events have become an important and vital tool for members of the "interiors" design community. It is not only an opportunity for various contract markets to show their "wares",but an ideal place for designers of furnishings,etc. to introduce their latest innovations. The attending participants are introduced to the upcoming .' mood" for interior designs, and are invited to participate in lectures and workshops sponsoring well-known guests.
f The Dallas Contract/Design Show
March 3-5,1983 Dallas Market Center
Theme: "A salute to creativity in space planning and design"
Cesar Pelli,FAIA,Dean of the School of Architecture,Yale University Orlando Diaz-Pizcuy,interior architect, Gensler & Associates,San Francisco John Saladino,interior design,New York City - "Interior Design^ as Art Form"
March 13-16,1983 Asilomar,Pacific Grove
WEST WEEK 1983 Pacific Design Center Harch 17,18,19
Pacific Design Center-Contract Furniture Manufactures present a design symposium hosting 42 designers. This special design event will cover such topics as "Interiors by Architects" sponsored by the Los Angles Chapter of the American Institute of Architects and Art and Architecture magazine and "New Design Concepts in the Workplace:From Automation to Amenities" moderated by Beverly Russell,Editor of Interiors.
The major exhibit will be a new line of furniture from Milan,Memphis-a Uest CoasÂ£
National Exposition of Contact Interior Furnishings
June 14-17,1983 The Merchandise Mart, Chicago
Last year this was billed as the biggest contract show on earth with close to 30,000 participants.
ASID Conference July 28 - August 1,1983 Boston, Mass.
New York City High-Style Furniture Contract Market
October 14-16,1982 (1983 dates unknown)
This show featured 44 New York furniture and furnishings showrooms. Originally conceived as a meanÂ§ for specifiers to visit source firms and view products first-hand on Saturdays,when showrooms are normally closed,this event has grown into a major contract market,
â™¦ â™¦â™¦â™¦â™¦ â™¦â™¦â™¦â™¦â™¦â™¦â™¦ â™¦â™¦â™¦â™¦â™¦â™¦â™¦ â™¦â™¦â™¦â™¦â™¦â™¦
Where are Denver's Interior Distribu^. tors?
Denver has a multitude of interior products and resources available to the interior design community, and one can find almost anything e is looking for, from fabrics to furnishings.
The problem that faces the newcomer though, is where to find them. It is the best kept secret in Denver.
The interior distributors and consultants tend to pocket in areas around the city, and at times, in the least suspected places. One of the largest pockets can be found in the lower downtown area, between 15th and 23rd, (north and south) and Larimer to Myncoop,
(east and west). In this area one will find not only furniture distributors, but also carpet resource centers, design consultants and almost all the necessities for interior designers.
The second major pocket is the Cherry Creek area. This area has been increasing in the number of interior consultants over the years because of it's centrality.
In addition to these predominate pockets, there are distributors located througho*ut Denver, such as Seal on South Santa Fe and Scott Rice on Bannock. Old South Gaylord, (one block W. of University, on Mississippi) has been developing into a third pocket, including art galleries, and consultants, such as the newly established Urban Keep.
All of these distributors handle a wide variety of services, and products, and because of this, Tom Williams of Knoll International, compiled the "Rocky Mountain Source Book"â€¢ This is a reference to all the distributors of Denver including people to get information and help from. It is organized so that one can have at their fingertips the address and phone number of a distributor and, is cross referenced, so that all you need to know is the product line and a distributor is listed.
They're there for you.
For the second^consecutive year, the major news impact from the Milan Fair is Memphis. In 1981, the first appearance of its bizarre forms, patterns, colors and materials was, in general, greeted at best as an amiable eccentricity and at worst as a joke in bad taste. However, in 1982, as the second collection was shown and the seriousness of its intent became clearer, the influence of this self-proclaimed New International Style was simultaneously apparent in pieces man-
ufactured by established houses such as Cassina, B&B. Driade and Saporiti Italia.
Memphis can be said to have arrived internationally as well as stylistically.
West Week will include a Memphis exhibit sponsored by Artemide. and a panel discussion featuring Ernesto Gis-mondi, chairman of both Arte-mide and Memphis, and (emphasizing the cosmopolitan infrastructure of the movement) designers Ettore Sottsass, Arata Isozaki, Michael Graves and Andrea Branzi. tVt-
\ designed by EUoreSo^*
Mem. is 66 years old. An architect and the son of an architect, his life has been dedicated 10 , desien.â€œFor people who didn't follow the whole process, these things look like they came from
In the same interview, he catalogued the three seminal ideas of the movement. The first is that a design project is not the solution of anything, thus deny- i ing the first principle of Modernism. The second is that the I light, if whole history of the planet-and j the w<| not mere segments as in Post Modernismâ€”could be taken and re-used in ways detached from the idea of structured culture. The third is the symbiosis between disparate materials without regard to stylistic unity.
"One of the important things." he observed, â€œis that Memphis is related to the actual world and not to the past. We are
quoting the present, and quot- ____
ing theJutmejf_gossibleJ',( ls poL.bfe â€” H ive new 1353? to change thl anguage. lo Hnd a tJnnJlH tiqn between history and what^ I
going on today, to develop a ^
^fbulary of ,hc ....Ciopj*Â»- I
In 1982 Progressive Architecture awarded Virginia Du Brucq a Citation in their International Conceptual Furniture Competition for her "Kimono" wall hanging cabinet. Kenneth Frampton, a jury member in the competition, said of the Cabinet: "I think it is very witty."
^Sinny says,."In Japan Kimonos are often Jglstored hanging on a bamboo pole with sleeves extended. In this way they f become lovely pieces of art work."
The cabinet's fabric covering is a Jack Lenor Larsen design.
A little more serious is Ginny's "Neonic Column Table". You certainly cannot criticize her for being insensitive to the affect that light will have on her furniture. Another exciting piece is her neon, chrome, and plexiglass lamp. It is on display in the street front office window of "Virginia Du Brucq and Associates" on Blake Street in Denver. Through the years Ginny has designed countless individual furniture pieces to satisfy the needs of particular design projects.
Ginny's is not an unfamiliar name around the College of Design and Planning. She taught the 500 level architecture studio here four years ago.and occa sionally sits in on student design presentations. She is a full-time architect and a full-time furniture designer.
MtpMsâ€™ tnfluanca on Hm Italian design marient is .vld.nt in Cauina's new Torse choir, o Paolo Peganello design upholstered in Jack Lenor Larsen fabric available In June 1983 from Atelier international, circle 251
FEB 83 INTERIORS 61
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3 u e A u Bi sojnodouojue sejoqotu
College oÂ£CDeslgn\ndCpire ?erles' UCD r* /r_ . &ncl â€lannlng was
fortunate enough to ant- u
rf afternoon seniorswich JZ7 of
-it Aas been really fab.
" I -7
Defining and tecture 16, 1983,
being a stimulating â– â€”Â« a
â€œ* of Â«.* fZi7dpctÂ£:rslÂ°
categorizing modern arch-
dâ€œâ„¢Â«, S1* lecture on F^"^y
Charier leeks succeeded e
slegel wereHreiealed ?rÂ°Cess of Gwathmey fourth floorÂ« d last week in t Gwathmey himself by charl
^orn in Baltimore, Maryland in he studied Literature and Archi et Harvard then won
Es iÂ° Â£rand
ture at T DÂ°Ctoral thesis in architec-dividea if 0? Univ^sity. He now writine â– /â€ž StÂ»f^â€œrf ^etween lecturing, and United states* Kingdom and the
n titles his lecture
Free-style ClassicismSeveral during his afternoon â€
the evening presents
Â£Â° frees tyle classic
Jack Lenoir Larsen9 eminant weaver and textile designer recently presented a Denver audience images of his thirtyâ€”two rich years in the interior design profession. The Seattle born Larsen lectured designers and students on March 2 at the Paramount Theatre.
as being a reinvention of the hard and fast rules oÂ£ classicism. Although he proposed to identify 10 such rulesÂ« one could not recollect
what they were at the end of his eloquent and witty barrage of examples.
The evening began with a brief slide show depicting one of Larsen rs recent major exhibitions, this one at the Musee des Arts Decoratifs in the Palais du Louvre. It traced his long career and provided illuminating comment on how Larsen integrated material, pattern, color, and technology in his art and design.
The lecture which followed revealed a personality whose strong opinions reflect i career which revolutionized the merican textile market and industry^ is affinity for the vibrant handwoven ibrics of African, Oriental, and Pre~~ lumbian cultures generated a burst vitality In the decorative arts which still felt today, and is reflected the widespread interest in natural tures and materials,
One of his Ideas Chat particularly caught my attention was the aspect of "the collective realm" in the urban environment. According to Jencks, it is a necessary element in the sensitive designing of the urban setting, but one which has been poorly addressed by "modern architects". He showed us the usual expanses of concrete at the base of our large buildings that remain empty and lifeless. In contrast, he reminded us of the many plazas and village squares prevalent throughout England and Europe that have met the human need for a central "gathering place" which leads to a sense of community. These places are examples of successful architecture because they followed a classic rule dealing with basic human nature - the need to gather in a safe and friendly place at the "heart" of where we reside.
oif __ _ -harles
sion of his talk i-,.-Prel^de and exten~ AIA. The rigor of hil rÂ£*t,,Illeht for the being a favorite Gwat-h hlnklnS (rigor
an enlightened example foJth^VCD^t1^
in need of direr n rÂ»Â« j 7ne UCD stu<*en
. uJ-reccion in design
n^tÂ±Â°LthOU*^t re "y,,ded a
mil 1 "n Cne iÂ°nrth floor JhT
only uqW, several days later' its dimmer and more usual aanar-i-
his^erioLn18 COncern and dedication? nisseriousness, precluded any aura of
pretentiousness or hauteur TUo
whereof he spoke. His knew
_ ., . r cerLainties were
authentic. His attitudes certain, but not pedantic. Reaction, I realize, may have been mixed, but Gwathmey was not
He presented himself as he is, of one piece, of a whole cloth. This is revealed in his design as well as in his conversation. Unity, a holistic approach to design, the building as object, all support this appearance. While my own predilections are in the direction of organism, not object, and richness rather than clarity (shades of Venturi),
I can not help but admire the totality of his dedication, the brilliance with which he has followed his ideas to their very minutest ends. Rigor indeed. The Barraganish quality of some of his slides, the play of platiar surfaces in his last house particularly lead me to wonder if there is not indeed more than one way to skin a cat.
en established the firm of Jack r Larsen in 1953, in New York (the greatest city in the world) aturally has strong opinions on â€ž and architecture which he was "han pleased to share with his tCe. His feelinglis that personal nment is considerably influenced texture and color of the space, due to a greater use of color
gn today, the design coasâ€œ**rJ iceptive to innovative color usage.
Throughout the evening he expounded on many of his views - sometimes becoming trite, but he still left us with a lot to think about. His own words best sum up the theme of the Wednesday night lecture in Denver, "...an architect's primary and final role is to express the meanings culture finds significant, as elucidate certain ideas and feeling
that haven't previously ion The jobs that too often take P
*â€¢ Â»â€¢/â€œ z
â€žcher P^lenJs ^ !Z
~ â€¢ â„¢s ls
hope, ever again
Some of Che major Gwathmey design concerns which surfaced during the question and answer session were the building as object (the value of Cor in his development), the holistic n of the design process, the need tc for permanence and to build and de well, the need for the building t< cend itself, a love of materials, use of color as an articulating layering of space, particularly ing the importance of circulati ordering element, intersection their articulation, the use of as a basis for shortcutting t and the importance of plan/'si elevation as a holistic unit idea of holistic design seeâ€™ larly important Co }
ed it in regard to a quest the design of interior/exi He shortcircuited this qu sense by insisting that rules both and hence he even talking about the no way however means t\ see the possibilities relationship between t Whig Hall at Princeto concrete gem encased shell) speaks of his brilliantly with t
him, I believe, the This is what he me inside and outside concerns. They e
share to an obje<
//The discrepancy between /out is a condition of the ftc to its existence. I ;he feeling in the past,
*a sufficient time and money, /would extend his design out / world (as his buildings do ixtend into the landscape) -whelming design machine in-k the raw material of experience Itely converting the entire universe k unified but extremely complex ling system(oak) inside a larger km (cedar siding) reflecting itself jm its own polished aluminum pan ;iing) infinitely and perfectly and krnally. This has been a mistaken ew to some extent however. The arefully chosen and defined views from he windows of his houses should have cold me this. There are, very importantly, parameters to his object buildings. This is the element which gives his buildings their deepest authenticity. They are holistic in their own terms, not as extensions of the world9 but as microcosms. He defines and limits them. The building is a logical precise object. Its holistic unity is that of mathematics, not mysticism and yet perhaps ends up in the same place. The inside and the outside are both valid, both necessary and yet, both just parts of the whole. He hesitates not at all in making this clear, in separating parts, and yet in doing so, uniting his buildings.
FO RTt' B
Not long ago we had a chance to interview Bernardo Fort-Brescia, a successful young architect from Coral Gables, a partner in the newly-famous firm, Arquitectonica. A carefully groomed, dapper man, his face pale behind his heavy, black-rimmed glasses, Bernardo Fort-Brescia is the picture of Latin American wealth. His is a witty, sharp-minded image, but one underriden with tension, and seriousness. His slick, thin buildings, in metallic and primary colors have captured national attention, as evidenced by a host of articles in the architectural press, most recently in Progressive Architecture.
In the interview, and during his talk in the afternoon on the fourth floor, Bromley building, he looked serious and sounded serious, in complete contrast to the wildly humorous person he presented in the evening lecture.
"QUESTION: Did you spend any time working for anyone else after you got out of school?
Fort-Brescia: No, when I first got out of school we started working on some very small things...when 1 was teaching I worked] a little bit just to get my time-in.
QUESTION: A recent article mentioned the strong element of fantasy in your designs, is that a major consideration in your work? Fort-Brescia: We were trying to fulfil the fantasies of the future occupants, whoever they are, but fantasies are not totally an issue...it's very difficult to predict what the fantasies of those people are.
If you don't move ahead you.â€¢.you either grow or you shrink. People like to associate with success, you've got to be successful to attract people...
(Regarding his new office in Houston):
I went there once a week, for a
or eight months...I went there like an encyclopaedia salesman, door to door, to a hundred and fifty developers and ve showed them our work...just by chance some of them said yes, and today it's fifty percent of our work.
Perhaps this is the reason, students In Francine Haber's Post Modern seminar this week, criticized him "or being insensitive to the site. He is not insensitive to it. It is yet another part of the whole; not an organic whole, but a geometric one. It is used as an edge to define the building as another plane to articulate the volumes he creates. I am thinking of the wonderful lawn carved in front of the Cincinnati House, of the magnificent definition of the linden trees in his final house project9 defining the axis clearly yet also providing an edge for the "wilder" more natural land to the other side of the driveway. He uses and orders the site, but he does not abuse it.
Regarding this issue and many others, accepting the position Gwathmey has taken -vis a vis architecture, one can only admire the completeness and unhesitating care he applies to it and wish him well in its further development.
Here are the highlights of the interview:
QUESTION: Are you designing a lot of interiors?
Fort-Brescia: Sometimes, but not always... sometimes the developer wants another architect to do Â£he interior design, or an interior designer...
I don't really think it was fast success...I'm just grateful that people are nice enough...I'm grateful to the architectural press. It always is a pleasure to see that one's work has a reaction, because it makes one feel that one is contributing something to the professional society.â€¢â€¢
We've been in business now for five years, and half of that time was a struggle, I guess compared to other people we were very lucky, we've had good projects.
(Regarding his Harvard connections):
A couple of times only, I needed to resort to my connections with friends in banks, especially now that they're getting older, and get higher in the ranks.
There's good students and there's bad students in everyjschool...generally I don't hire on the basis of school.
The head of our design development team, the best guy...if I ever had to add an associate to the firm, it'll be this guy, he's from Little Rock Arkansas, heavy Southern drawl...the guy is fantastic,
I trust him completely. He's very sharp. He's never been to Harvard, he's
Governor Dick Lamm dropped by the University of Colorado February 18 to talk with students and faculty from the College of Design and Planning. He addressed issues of planning, education, and the "plundered West." Of note to all you environmentalists were his comments on the newly established Colorado Lottery. Lamm said that the bill to establish the lottery was voted for by many in Colorado because the profits from the lottery were to fund parks and recreation. The reality, however, is that 50% of those profits have already been rechanneled into the financing of state capital improvements . He called the Lottery a,"bad form of taxation."
Thanks to Herb Smith of the Planning Division for arranging Lamm1s visit.
Denver artist Bob Behren's sculptures can be seen on the grassy area in front of the Denver Art Museum and in the plaza at the entrance to Currigan Hall. He is currently teaching a design studio at UCD
As Kenneth Clark observes in his book, Civilization, "One of the reasons why Medieval and Renaissance architecture is so much better than our own is that the architects were artists. The master masons of the Gothic cathedrals started as carvers working on the portals. In the Renaissance Brunelleschi was originally a sculptor, Bramante a painter; Raphael, Peruzzlf and Giulio Romano were all painters who became architects in middle life." In 17th Century Rome (an era which many architects of today use
The Knoll office, perched high above Larimer Square, was bustling and noisy an afternoon or two ago. Invited crowds had gathered at a Knoll Open House to munch on the delicious hors d'oeuvres and ogle at designer Bruce Hannah, who had stopped in for the occasion.
As we strolled in, a uniformed waiter took our coats and encouraged usâ€”exhorted us, evenâ€”to try the food and drink. An open bar provided instant encouragement and we traipsed gaily up the stairs, to join the chattering crowd.
High above the clink of glasses and the din of conversations, we could hear Beethoven, and began to make our way
# S^Y S NO â€¢TO 0E/^'S JOe
John Prosser has been on the faculty of the College of Design and Planning for 17 years.
Beginning as a visiting critic in Boulder, his involvement with the University continued in several administrative positions. These positions have included, first, Director of Environmental Design, then Assistant Dean, Director of Urban Design, and currently Acting Dean.
The past three years have seen a very rapid transition for the College; including the move of the Deanâ€™s position from Boulder, two accreditation visits, and a change of name. It has been a period of accelerated growth for the five programs.
The University has begun a national search for a permanent Dean. John has decided not to apply for the position. Stating that, "I came into this profession to be a teacher, not an administrator," he has chosen to ulearn and explore new instructional methods, particularly in the technologies." He believes that teaching will be changing drastically (due to a shortage of state funds and the potential of computers). "The computer is a giant extension of the mind", a tool to expedite communication in design. The goal would be to facilitate time allotted for design development itself, professionally as well as academically. "There is still no substitute for the studio experience."
(continued front page 3)
NIMS: It may happen. Itâ€™s been talked about - informally. Second and third year design would remain seperate, however.
NIMS: Well, the design issues differ.
LAM: Howâ€™s that?
NIMS: Architecture always deals with
exterior issues of site, orientation, and environmental analysis. The interior designer is rarely able to make decisions which affect these contextual issues.
as a reference point) before becoming architects, Pietro da Cortina was a painter, Bernini and Boromini were both sculptors, and Palladio was a stone mason. In the 20th Century, Mies Vander Rohe was a stone mason, and Le Corbusier painted and sculpted under the name, Je^nneret They all learned a particular art discipline before turning to architecture.
What role, then, does art play in the education and practice of architecture today?
The pluralistic view of art, developed in the 20th Century, has bewildered the general public and most architects, and complicated the question, what is art?
The departure point for pluralistic art occurred in 1920 with Marcel Duchamps' shocking, "Fur Covered Toilet Bowl by
It was at this point that the
artist, through observation, raised the non art object to the status of "Mâ€™gh art" by locating it in a museum or gallery. What makes this work a milestone is that the artist has transferred his skill from modeling of clay, drawing, or painting to the art and skill of seeing, synthesizing two apparently unrelated objects and communicating his idea to the public.
As Sigfried Gideon points out in Space, Time and Architecture, Cubism (e.g. Marcel Duchamps, "Nude descending a Stairway") is the aesthetic from which the Modern Architecture springs This revolutionary way of seeing from multiple points of view simultaneously, including the dimension of time, reconceived our vision of the world. Beginning with this Cubist painting and sculpture in 1910, architects have exploited this aesthetic idea for more than 70 years.
Today the architect is questioning the axioms of the modern movement. Cubism is an aesthetic under siege. The time has come for a new aesthetic base for architecture, not the tired repetition of others*j observations. Cubism is dead, not Modern Architecture. Our opportunity to see the world as clearly as the early cubist, to discover a new order, is the task of the new modern architect. If one looks to pointing and sculpture and the other visual arts as these were looked at in the twenties, architecture may be on the threshold of something completely new and shocking.
through the crowd, "I remember you from somewhere," we overheard one person say, "but where?" We ogled at Bruce Hannah and munched on little mounds of crabmeat on Belgian endives, peeled mushrooms with mayonnaise, batterfried chicken morsels with coconut; it was all very pleasant.
By-and-by, a Knoll big-shot came over to converse. We asked,â€œhow do you overcome the clients' resistance to expensive products, such as Knoll's?*"It's a matter of educating the client7 he said. We then conversed with a UCD big-shot, who urged us to immerse ourselves in computers, â€œit * s here already,â€ he said.
We walked over to the shelves holding Knoll fabric samples in many colors, and noticed Bruce Hannah standing by the purple-mauveâ€¢ He was earnestly holding forth to a small crowd on the need for mandatory seat-belting in automobiles.
â€˜You just make everybody put on their seat belts, he said,"and the problem's gone. 1
We ate a last Belgian endive, a last* peeled mushroom, and walked out into the cool night air. It had really all been very, very nice.
SOCIAL GAFFE. OF THE MONTH:
When Charles Gwathmey gave a talk in the fourth floor studio, a certain design studentâ€”we'll call him Norbert Brixtonâ€” stood up and said, "I'm Norbert Brixton." Gwathmey's reply: "did you say you went to Princeton?" Raucous laughter in the galleries
A hotefc-hopping acquaintance reports:
A few weeks ago, on the morning after Charles Jencks\ talk, I walked through the Brown "Palace Hotel's lobby, and saw Jencks at the counter, checking out of the hotel. At his side was a young woman. I heard her say to him: "and this is my present to youl" When I told this to a certain faculty member, they said: "it probably doesn't mean a thing!" and giggled.
In closing Nims pointed out that he will be representing the College of Design and Planning at the April conference of the Foundation for Interior Design Education Research. The Foundation is examining the trend toward a closer working partnership between interior designers and architects. They have invited only a handful of schools with both interior design and architecture programs to participate in the Conference.
Their hypothesis is that the individual who comes from an interior design program within an architecture school will be the better prepared professional.
As Robert Hughes' television series, "Shock of the New" points out, a major ingredient in art today is the ability to shock. Art today is providing new and startling combinations which set in motion untapped linkages in ourselves, allowing new and fresh views of the world.
While architects have been mired in Cubism, Art has continued to evolve beyond. The ability for the architect to see his world in new and startling combinations will result in a New Architecture based on the contemporary art concepts. Learning to see and making new linkages is Art.