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Architecture

Architecture


COMMUNICATING VESSELS: AN ARCHITECTURAL PARACOSM

By Neil Spiller

Neil Spiller Communicating Vessels: an architectural paracosm P1304 Professor Neil Spiller is dean of the school of architecture at Greenwich University. Before moving to Greenwich in September 2010, he was vice dean at the Bartlett school of architecture, where he founded AVATAR, the Advanced Virtual and Technological Architecture Research Group. In this talk, Spiller describes his 14-year long Communicating Vessels project - an architectural paracosm set on an island in Kent. His designs for the island - which include a walled garden in memory of the American theorist Lebbeus Woods - draw on the work of the Surrealists, science fiction and technological advances such as nanotechnology and augmented reality.

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BUILDINGS KNOW HOW THEY SHOULD BE BUILT

By Louis Kahn

This rare recording By the Australian Broadcasting Corporation features the NSW Premier Jo Cahill and Jorn Utzon speaking at the launch of the Sydney Opera house appeal on 7 August 1957; and a discussion between Henry Ashworth, Professor of Architecture at University of Sydney and Chairman of the Opera House competition jury, and his fellow assessors Eero Saarinen and Sir Leslie Martin, Professor of Architecture at Cambridge University, on 29 January 1957. We are grateful to Warwick Mehaffey, Acoustics Engineer at ABC and advisor to the SOH for sourcing the recordings.

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DANGERS OF STYLE, THE

By I.M Pei

One of the foremost architects of his generation, IM Pei's reputation rests on buildings such as the John Hancock Tower in Boston, the Mile High Centre in Denver, the Louvre in Paris and the Bank of China in Hong Kong. While he kept faith with the founding principles of the International Style, he applied them to buildings that were all his own. In this talk, part of a series conducted By the architectural publisher John Peter from the 1950s onward, Pei discusses the enduring influence of Frank Lloyd Wright, the crucial distinction between having a style and designing with style in mind, the limits to technology's influence on architecture, French hostility towards his Louvre redevelopment, and the difference between the European and American traditions: "they built Rolls Royce, we built Ford".

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DUALISM IN ARCHITECTURE

By Stanley Tigerman

Stanley Tigerman was born m Chicago, received his architectural training at Yale, and started his own practice in 1964. He has been teaching in many western universities and is Professor of Architecture at the University of Illinois in Chicago. Among his innumerable activities he organised the Chicago Seven group of architects and their exhibitions and in 1980 authored the book and exhibition 'Late entries to the Chicago Tribune Competition'. In 1982, in a book he called 'Versus', he sought to clarify the American condition, and he feels he is still 'writing' it in his own work as he attempts to clarify dualistic attitudes in architecture. By dualism he means the juxtaposition of opposites, seen simultaneously but in no way synthesised. The highly original designs he uses to illustrate his recorded talk show buildings invariably ruptured into two pieces. Sometimes he uses one to mirror the other; sometimes he juxtaposes two different languages (classical and vernacular, formal and rational); sometimes the dialogue is between abstract and representational elements. Symbolism is never far away, particularly in the exhibit he has devised for the new German Architecture Museum in Frankfurt.

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MOST PRECIOUS MATERIAL IS THE HUMAN MATERIAL, THE

By Richard Neutra

Richard Neutra is famous for adapting the International Style to Southern California with domestic projects that included the Lovell House, the von Sternberg House and the Kaufmann House. This talk, one of a series conducted By the architectural publisher John Peter, was recorded in 1955 at Neutra's own home in Los Angeles, the metal and glass Neutra Research House, an early example of the houses that made his name. Here Neutra explores the psychological and biological approach behind his work - reflective of the intellectual environment of the Vienna of his youth.

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QUESTION OF SCALE, A

By Philip Dowson

Philip Dowson is a founder partner of Arup Associates, a multi-disciplinary design practice in London. He maintains that a close integration between the professions is more than ever necessary today to co-ordinate designs in our present climate of technical change. He starts his talk by describing a small house built in 1964 which illustrates an approach to architecture that is common to all the work that he shows: architecture is about people; how given a site, the architect can enrich the lives of the future occupants of a building on it; how relationship can be struck between manmade and natural, between small and large scale, between the way of life and the environment which is the heart of it all. The resolution of these and other problems, such as energy and conservation, are discussed and illustrated by his industrial and office work and his university buildings.

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SCALES OF IMAGERY

By Tom Beeby

The influence of Frank Lloyd Wright was strong on Tom Beeby as he grew up in Oak Park near Chicago, also that of Colin Rowe and John Hejduk when he was an undergraduate at Cornell, of Vincent Scully when he went to Yale, and of Gene Summers during the six years when he worked for C. F. Murphy Associates in Chicago. In 1971 he formed a practice with Jim Hammond and in 1977 they were joined by Bernard Babka. In 1975 he became a founder member of the Chicago Seven group which sought to re-examine architectural thinking and to free it from the standard commercial basis of most architecture in Chicago. The group organised a number of exhibitions including 'Late entries to the Chicago Tribune Tower competition' 1980. Architects worldwide were invited to do drawings which followed the format of the original 1923 competition. In 1980 Beeby became Director of the School of Architecture at the University of Illinois at Chicago. He has written many articles and the work of the partnership has been widely published and has received many awards. In his recorded talk, Tom Beeby maintains that though architects today are still part of the Modern era in terms of materials and techniques available for construction, they must learn to use these in a more evocative way than before, and he spells out scales of interpretation he has dealt with regarding images in his work.

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VICTORY OF THE MODERN APPROACH IS SURE, THE

By Walter Gropius

Walter Gropius, founder of the Bauhaus and head of Harvard's department of architecture, was also a talented architectural innovator. His Fagus Factory with Adolf Meyer and his Bauhuas budding in Dessau were remarkable examples of the early International Style. This interview, one of a series conducted By architectural publisher John Peter, was recorded in 1955 in two parts - at Gropius's home in Lincoln, Massachusetts and at his office in Cambridge. Here he describes the origins, philosophy and enduring influence of the Bauhaus, discusses the importance of helping students to find their own way, and predicts a slow but steady move towards pre-fabrication.

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WRIGHT STARTED IT, CORBU GAVE IT FORM, MIES ADDED CONTROL

By Eero Saarinen

Eero Saarinen died just aged 51 at the height of his creative powers. His career was jumpstarted early with the General Motors Technical centre, lauded as the industrial Versaille. He went on to design an array of distinctly different buildings - including the Gateway Arch in St Louis and the TWA Terminal at JFK Airport, New York - each reflecting the philosophy he shared with Corbusier that every building has within it its own solution. This talk, one of a series conducted By the architectural publisher John Peter, was recorded in 1956 at Saarinen's remodelled Victorian house in Bloomfield, Michigan. Here he discusses the three great Modernist influences: Frank Lloyd Wright, Le Corbusier and Mies Van der Rohe; the rise of the automobile and the resulting atomisation of the city; and the great body of advice and wisdom passed on to him from his father, not least that architecture must be approached as an art.

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