TASCHEN S WORLD ARCHITECTURE IN THE 1990S PHILIP JODIDIO TASCHENCOC CT ec ue tae ere ane cr Peo pee ogee TO ner ‘also leaving its mark. Thus. for example, the works of many architects - from France's Dominique Perrault a aan eas ae eid More than 250 colorillustrations, detailed plans, SO ed Yet highly readable text provide a competing pretation of contemporary architecture, Ce eae [About the author and editor: Philip Jodidio was born in Now Jercey in 1958, He Pe cee aa ac) ee eee ec ed eee ee cL Published numerous studies an contemporary arceed een Se ema) Presa) eee een eelBorel ele ST RU Ee EDRs a) architectural creativity. Completely new design possibilities have been opened up by technological innovations such as computer- aided design, and at the same time there has been a growing cross- fertilization between architecture and art. The face of today’s Siete tee oc aco ee tee eT emer are ey ECT Rem Koolhaas and Tadao Ando, to name but a few. Whether in Japan, Rast eae ena arate) DCCs Le Mobment tae lone eM taner Renee rte ae51 a1 109 143 179 227 234 236 237 Contents INTRODUCTION New Geometries URBAN STRATEGIES Transport, Communications, Tall Buildings and the Urban Nomad ‘SPACE FOR ArT Anew Generation of Museums PLACES OF GATHERING Congress, Worship, Sport and Study ART AND ARCHITECTURE Breaking down the Barriers OuTLooK Shapes for the Future BioGrapHies BIBLIOGRAPHY INDEX CreoirsPhilippe Starck Le Baron Vert/Le Baron Rovge (Osaka, Japan, 1990 One ofa series of unusually ed buildings created by this French designer for Japan, th Baron Verthas kindof that seems te be inspired by his object designs Alt much ata designer, Starek has had itficulty completing butINTRODUCTION New Geometries ‘Setting the Scene: From Post-Modernism to Deconstructivism For economic, technological and historical reasons the period between 1985 and 1995 will be rememberedas one of fundamental change in art andarchitecture. The 1980s were af course a time of economic excess, when “Golden Bays” ruled the fi- nancial markets, and record prices were paid even for insignificant works of art “Easy money" and uncritical demand went hand in hand ta boost construction and to encourage a closer link between a certain consciousness of fashion, and artistic, and architectural creativity. This was all tend for reasons linked to such events 35 the October 1987 collapse of the New York stack market, of the fall of the Berlin ‘Wall in 1989. In a new climate of doubt and economic restrictions, architecture would be obliged totake new forms. The fact that this shift occurred just when the computer began to affer new design possibilities has demonstrably accentuated the emergence of a whole gamut of architectural solutions and shapes that could not have been imagined earlier. Set loase from the rigorous constraints of rectilinear Modernist geometry as early a¢ 1966, the date of Robert Venturi’s seminal essay “Complexity and Contradictionin Architecture,” many architects hadsearched throughout the 19705 for avalid equation between the demands of modem society and the siren-call of history. The resulting Post-Madernism, though largely superficial in its references to the past, did succeed in breaking dawn the intellectual barrier that existed be. ‘tween the contemporary and the premodern. Essentially 3 question of facade: in Its heyday, Past-Modernism led clearly toa more profound examination of thellinks ‘that could be established with history. When Richard Meier, a leading figure of con. ‘temporary Modernist design, describes the Getty Center. his massive complex now ‘under construction in Los Angeles, he says, “In my mind | keep returning to the Romans - to Hadrian’s Villa, to Caprarola for their sequence of spaces, their thick- walled presence, their sense of order, the way in which building and landscape be- long te each other.” In this project, an architecture that could not be classified as Post-Modern, despite the use of an unusval cleft travertine cladding for the lower facades, islaid outin a complex pattern that certainty recalls Hadrian’s Villa, Although most criticism of architecture does not link it specifically to trends in thearts and to larger factors of the economy ar even history, items abvious that, at the very least, intriguing coincidences do occur. It is almost always difficult to establish a one-to-one relationship between a given historical or economic event and a development in the arts, if only beeause the creative process is not oriented to such specific inspiration. Rather, a mood or a climate is established, and its influence may be so pervasive as to give rise to an esthetic response that is almost involuntary on the part of the creator. This is nothing other than the spirit of the times. Though it might not be fruitful to attempt to establish any direct link, itisinter- esting vo nove that the October 1987 fall of the stock markets was followed in June ‘1988 by the “Deconstructivist Architecture” exhibition at the Museum of Modern Ieemcoucnon 7‘Art in New York. Uniting mostly unbuilt work by Frank O. Gehry, Daniel Libesking, Pages 9 Rem Kealh: er Eisenman, Zaha Hadid, Bernard Tschu lip n, co-author with Henry-Russell Hitchcock of the 1932 classic The International St and Coop Himmel. Richars Meier biau, this show was directed by none other than PI Gorty Coarae Los Angeles, alifomia, 1985-57 je. This was of ‘that, in relation to another MoMA exhibition, defined the pre: course the hitecture practically up until the time of Ventu may indeed have j@s0phy ils of Wall S 1.48 collapsing economicin ; up cortainties of t so architecture chall wn underlying beliefs. As i ; ili ce i. not merely perceptual; it is not 8 personal respo he ntl worl, nor even 3 state of mind, is being disturbed is a sot complex. Toth righ cultural assu h underlie a architectu scaweure inking since ward by MiThe Magnificent Seven twas noaccident that the seven archit is undoubtedly fOne of Frank. Gehry’s more successful buildings is his Vitra Design Museum in Weil am Rhein, Germany, just over the border from Basel, Switzerland. Its interior has been compared to Kurt Schwitter’s Merzbau (Hanover), and Gehry himself has spoken of “frozen motion” in referring to this building, Neither these references, nor the twisted volumes of the exterior of this 1989 structure, immediately call to mind the superposed diagonals said to be typical of Deconstructivist architecture. The reason for this apparent paradox is quite simple, Gehry’s exploration of new forms isasmuchaproductof the study of contemporary art asitis related to Russian Constructivism or German Expressionism, Both of those movements of course at- tempted to integrate architecture and art into a single effort to create the new. Another of MoMA’s seven is Zaha Hadid, born in Baghdad in 1950. Having stud. ied under Rem Koolhaas at the Architectural Association (AA) in London, she went Con to be one of the mare influential exponents of the new status of architects as artiste. In fact from the first, which is to say her 1983 first prize entry for the Peak ‘Club in Hong Kong, Zaha Hadid has been atmost better known for her drawings, ex ecuted ina style thathas been called “exploded isometric projection,” than forher rare built work. Her 1993 Vitra Fire Station, on the same Weil am Rhein site as Gehry’s Design Museum, is the proof that she is capable of converting her unusual vision of architecture for a fragmented, unstable society into concrete, steel and glass. Itis both visually arresting and apparently quite functional despite a number of difficult-to-use sharp interior corners Hadid’s teacher at the AA, the Dutch architect Rem Koolhaas, is one of the more flamboyant figures of his generation, Born in Rotterdamin 1944, he too has only re cently had the opportunity to translate theoretical ruminations into rather spec: tacular built form with the Euralille complex in northern France, and in particular with the Grand Palais, an enormous exhibition hall and conference center. Rem Koolhaas first achieved public attention with the 1978 publication of his book Delirious New York in which he argued that America’s most important contribution to urban design has been whathe called “Manhattanism* - the congested high-rise cores of the largest cities. His theory is that that the glory of the city lies in the ex. ceptional, the excessive, the extreme, in what he calls the “Culture of congestion He propores collaborating with, if net emulating, uncontralled forces of develop. Frank©. Gehry Viera internationol Fueitu ‘Manufacturing Facility and Weil am Rhein, Germany. 1986-69 The Design Museum serves - enllacton of ehsits. Despite the apparent complexity of the struc ture, functions well 3 depiay fs net plagued by un Liable interior spaces. Seuiptural hare comes clone to mately unbuitt designs ofthe 1920s and 119201, and goes beyond the vocabulary of lightweight materials that he pioneered in ne warm Southern Californiament rather than proposing remedies for social disorder, “Whatif we simply declare fine ourrelationshipwith the city nat asits makers pporters?” theres heasks,“r smere subjects, 95 t Rem Koolhaas and the Office for Me ture (OMA) were chose ar plan of the Euralille complex in November 1988, following the decision to run the high-speed TC ing the Channal tunnel through this opolitan Archite todetign the ma: blighted northern French city (see Chapter 2, Transport and Communications) Physica from the rest of the complex designed by Jean jouvel or glass panes on some exterior 9 oneof the most in ting examp }00 m? of usable space), andextramely le, and Palai Another of the architects ch the MoMA exhibition i Eisenman hashad a long career as a theorist, and admittedly has something duk, Stern and Gwathmey One New York frequently changing hi athing American monthly Progressive Archit Diane Chirac met aman moved rapidly through one infat ex ne, ub ip, DNA, seali be randomly p: ips of cooked fettuccini in th ave h promised to give structure, order, and diversity to his rational methodology fe form of the archit Invented by the German mathematician Viera International Furniture Manufacturing Facility aad Wi an Rhein, Germany, 1996.Wil am Rhein, Germany, 1989-93 astronomer Augustus Ferdinand Mabius (1790-1868), the strip o! is flat and rectangular, with a half-twist and ends connected to form a continuaus. sided, single-edged loop. Eisenman’s proposed double t Puter “morphing” of a Mabius strip and a projection into three dimensions of its form, Designedin obvious vielation of Berlin height restrictions, the Max Reinhard Haus would be located at a major intersection formed by Unter den Linden (eas west) and Friedrichstrasse (north-south). This site was recognized as pivotal, ae. cording to Peter Eisenman, and chosen as.alocation for potential landmarks such a¢ ‘the project for the first glass “skyscraper” designed by Mies van der Rohe after World War |, Named for a famous German theatrical entrepreneur, it would be builtin the same place as his Schauspielhs 1d by Hans Poelzig. According to Eisenman, it would “havea prismatic character, folding inte itself, butalso opening g array of itself out to an infinite, always fragmentary, and constantly char n references and relatio an goes onto say, “It will truly prophetic building. Such a structure amounts to.a singularity in the c acquiring the capacity to represent on one site that which is of man Whether it is built or not, the Max Reinhardt Haus represents an apotheosis recent trends towards innovative, sculptural comp temporary architecture. Itisinteresting tonote that Eisenman, apparently one of the leat Deconstructivist movement, today disavows the validity of such analysi ships." Eisen ed forms intecture, preferring toexplore the newhorizons offered by the computer. As he says, “Lbelieve that deconstruction runs into a big problem, which is its refusal to deal with the physical reality which is presence, Its object is to subvert the metaphysics of presence. You can subvert the metaphysics of drawing, but not of architecture There will always be four walls in architecture, Rather than arguing against four walls it iz more relevant to argue how you can detach the four walls froma Germany, presents another face of urban In the Mit Cv 900 construction projects are in various stages of planning, w Federal ancellery, Tiergarten tunnel and new central Lebrter Bahn Construction, This station, de: jgned by Von Ger an, Marg and Partner, will boast 3400 m long trussed-glass hall. In the area of the Potsdamer Platz, where Mercedes Benz, Sony and others have planneda city-within-the city (an expression that might bring to mind the ambitious plans of Kuala Lumpur or Shanghai), the architects Schneider + Schumacher have erected a temporary structure called the Info Box, intended to give residents information on the massive transformation that their city is undergoing. Because it is situated on a future work site, the Info Box will inevitably disappear, but its cantilevered, metallic structure announces that it has no pretensions to permanence, muchas the Towell Temporary Library seems alzoto beephemeral by nature. Ephemeral architecture is of course an inevitable part of urban expansion, but when they are successful, such buildings often haves longer life than was originally intended. Itwill be recalled that the Eiffel Tower was to be no more than a grandiose modern symbal for the 1889 Universal Exhibition in Paris. Such fairs have generated a great deal of temporary architecture, and continue to do so in spite of their per tious economic equilibrium. A recent example is the Seville Expo "92, which led to the construction of anew airport terminal by Rafael Moneo, and bridges by the likes of Santiago Calatrava, Within the fair grounds on the Cartuja island, Tadao Ando’s monumental wooden Japanese pavilion stands out as an unusually audacious design, Like a great ark overlooking the Guadalquivir River and the neighboring countryside, it solved many of the problems inherent in temparary designe, whil showing the Japanese affinity for wood. All ofthis from an architect best known for his very solid concrete structures. ‘The pressure to provide lodging and.commercial spacein modem cities, and the need to be able to convert existing buildings to other uses, all plead in favor of an increasing use of inexpensive materials andintentionally ephemeral designs. t isthe task of quality architects too to provide this sort of facility, which im many ways may mark the visitor’s mind and spirit more than many allegedly permanent buildings, a uilifiiit TT Pages 70079 Tedao Ando Sspsnete Pavilion, Exp0'92 Seville, Spain, 1992 Although exhibition pavilion ‘tually by definition epnemer Tadao Ando took advantage of the 1992 Sevite exhibition to. carry out hit largert reale experiment nthe use of woe, a typi Japanese mater he usually favorsSPACE FOR ARTAnew Generation of Museums Europe Leads the Way Throughout the 1980s, and into the early 1990s, a wave of museum construction swept across Europe, and certainly concerned Japan, if only to alesser degree the United States. The reasoning behind this trendis relatively clear. Whereasthe great cathedrals of the past may have been potent symbols of the wealth or importance ‘of European cities, culture seems to have replaced religion as the most obvious sign of success, France, under Francois Mitterrand, engaged in an unparalleled series of cultural projects, known 3s the Grands Travaux. The most visible, and perhaps the ‘most significant of these efforts was undoubtedly the Louvre Pyramid designed by the Chinese-born American architect .M. Pei. Bornin 1917 in Canton, Peiwazeslled on directly by President Mitterrand, without any prior competition, ta redesign the “greatest museum in the world.” More than a central entrance, the Louvre project entailed the development of a masterplan for the expansion of the museum into the vast areas of the Richelieu Wing, long occupied by France's Ministry of Finance. Quite obviously, a royal palace such as the Louvre is not the ideal location for amu: seum of art, if only because of its U-shaped layout, requiring long walks between the different wings. This fact led!.M. Pei to conclude that the only possiblelecation for the new entrance would have to be at the center of the structure, Long used as 4 parking lot, the so-called Cour Napoleon became the heart of the Grand Louvre, {nits first phase, completed in 1989, the Grand Louvee project entailed the erection of the now famous pyramid, but also the construction of large underground areas to accommodate the facilities such as shops. restaurants and auditoriums, which were ‘sorely lacking until that time. Although politically oriented protests greeted thean- ‘nouncement of the project, the French public came to accept the pyramid as the ‘newest of along line of great Parisian landmarks. Criticizedin particular for his tack ‘of apparent sympathy for the surrounding nineteenth century architecture, Pei ‘explained that the pyramid design was in fact deeply rooted in French tradition. ‘Giting his personal admiration for the garden designer Le Nétre, responsibleforthe nearby Tuileries gardens, Pei pointed out that two essential elements of Le Notre’s ‘garden designs had in fact been sky and water. With the basins ringing the pyramid, ‘and its own reflective surface showing the image of passing clouds, the new addi ‘tion was in reality a subtie blend of geometric modemity and tradition, Perhaps because of his background as an able designer of commercial projects in the earlier part of his career, Pei has never been as fully accepted by the American architectural establishment as his achievements would warrant. Few in the United States seem tohave fully understood the extent to which the Grand Louvre project, with its second Richelieu Wing phase completed in 1993, represents one of the ‘greatest architectural accomplishments of the late twentieth century, Not only did LM. Pei succeed here in giving appropriate form to Francois Mitterrand’s ambition to place culture at the heart of France’s politieal agenda, but he also mastered the extremely delicate equilibrium that had to be obtained between the symbolic ‘weight of agreat historical monumentand the requirements of the modern age. The Srucevou Aur 63bold simplizity of Pei’s pyramid places it at once in the tradition of modern archi tectureand showshowit is possible toshed a new light on the buildings of centuries past. As President Mitterrand said during an inaugural speech for the pyramid, the former Cour Napoleon parking area was nothing more than a dangerous place ta go at night, whereas after the intervention of 1.M. Pei, it added a great new square central Paris, no small accomplishment in itself, The success of certain P: cultural projects undoubtedly encouraged some provincial French cities to da likewise. Foremost amongst these was the southern city of Nimes, known for its well-preserved Roman monuments. Here, in one of the just opposite the Roman temple, the Maison Carrée, mayor Jean Bousquet decidedto erecta modem temple toculture. Ina 19% competition, he called on the cream of contemporary architects = Sir Norman Foster, Frank O. Gehry, Hans Hollein, Arata Isozaki, Richard Meier, Jean Nouvel, Al time, Sir Norman Foster completed the Carré d’Art only in 1993, with delay ing most notably from severe flooding of the city center. In an even more obvious way than the Louvre pyramid, the Carré d’Art repres most prestigious sites available, Jo Rossi, Alvaro Siza and James Stirling - to study the project. Chosen at that LM. Poi Lowere Pyramid Pasi, France, 1902-09 Palaces delicate problem of the insertion of modem architecture into an historical urban environment. A far ery from the early Medernist tendency to ignore surrounding architecture, the Carré d'Art shows just how wall a subtly “high tech” building can face and respond to the classical Roman order of the Maison Carrée. At the date of the conception of the Carré d'Art, this achievement is not related either to the later ‘concern for extreme economy in construction, or to the full use of computer tech nology. Rather, it is evidence of the coming to maturity, not only of Sir Norma Foster, but also of modern architecture in general, Challenge the emergence of the Post-Modern style to once again + ban environment eek integration into the ion that typified much earlier work, architects who con tinued to work with the clean lines of the modern demonstrated here and else where that contemporary buildings could be infused with akind of classicism, whict as opposed to the rej by no means required use of pastiche. The state-ledcultural projects of France were not necessarily imitated elsewhere in Europe, but for similar reasons cultural projects have been privileged. For thearchitect Frank ©, Gehry this trend hi s ful and large-scale projects. The Vitra Design Museum, located in Weil am in, Germany, just across the border from Basel, Switzerland, is a case in Here, alarge manufacturer of office furniture decided that calling on “name” archi tects made good busin holding of museum quality chai Vitra asked Frank O. Gehry to create an unusual space, a challenge that priliant fashion. Though net very large, the Vites M all of unexp soaring spaces, which are far from the accepted norms of modaen ac Rather. itecture is isa sculptural environment, which succeeds in giving place of honor t ibited furniture while existing in its own right as aw Gehry’s sense of rms is being carried to new heights in the Bilbso Museum, un ricof art sculptural struction in B gram known as CATIA, uses 10, Spain. Here, a sophisticated computer by the French pla the curves of fighter planes, has: manufacturer Dassault to de dro} e Creation of unusually elaborate shapes. Because of the flexibility of the computer-aided design proce both working models and final production drawings can be matched toa manufac turing process that makes it possible to control costs while crea Despite his artistic temperament, Gehry’s importance lies here in his capacity & make technology do his bidding while solving the practical problems of construe Germany and The Netherlands have of cou construction of numer Own the way in Eure s new museums, Hans Hollein’s Frankfurt M Modern Art is a casein point. On a difficult, triangular site in Frank 3 sort of modern version of the steamship design aften seen in early century architecture. Although it does the 1970s, the Frankfurt Museum's complex one of the cultural landmarks of Germany wearkenbaci the Post-Modern \dimposingCertainly less severe and more unexpected, Alessandro Mendini’s Groni Museum in Gi museum, built by the municipality of this northern Duteh city with a generous donation fromthe local Netherlands Gasunie company, is situated on anartificial is and on 3 canal near the central railroad station. A bridge crossing through the mid Je of the museum is the most direct route from the station to the city center for at a large number of casual visitors are almos! jningen, The Netherlands, is anode to the joy of design and color. The least two million people per year ited forthe institution. Mendini is of course best known for his vibrantly col he conceived of acomplex that hasbeen likened tathe red furniture designs. Her -emple of Philae, calling on a number of other architects and des g the Frenchman Philippe Starck, Despite the different approaches of each impression given by the whole of this museum is one of joyous cele ‘enough event, especially in the often sanctimonious museum world, of the ni says, “I think that a museum nowat place for relaxation with respect to the rapid passage free museums, at last, from the church in past centuries. Itis f time ~This also coincides with the intention rhetoricand the elitist paternalism of art.” Both the Groninger’s director Frans Haks SirPNorman Foster Card d'Art Nimes, France, 1985-93, nd Mendini clearly believe that fewer dis ade between the inctions should by al arts, design and architecture, and their efforts are intended to prove the inits debsuchery of colors and forms, the viability of a complete symbiosis. Raucous less resolutely connected to the city and to the his nonethi if Museum: f architecture, reaching back to Egypt and forward to the surprisingly dis: pavilion by Coop Himmelblau - this despite Mendini’s self-proclaimed effort to create internal spaces that “alienate” the visitor, and despite the build: 9's apparent connection to design styles that had their heyday in the 1980sif not before. It should be painted out that the flamboyant architecture of Mendini eta, ond to a very signif on, The inaugural show, ded: other than Mendini himself, highlighted the significant holdings of the institution in Memphis-type furniture, but did little to allay the suspicion tha /@ “smoke and mirrors” here than great art. Architecture and des at the center of this effore, which is in itself a positive observation.A | |Mlr A iy - rl iyJapan’s Thirst for Art The economic “miracle” of Japan, although dulled by the recession and real estate Jebacle of the earty 1990s, gave rise ta a formidable thirst for culture. Japan natu- ally had its share of museums of traditional art, although the country never had a nal museum policy. Even today the limited number of national muse: ums receive low levels of financing from the government, Rather it is the efec toral, municipal and private mu: eums th have sprung up across the country that have rightly given Japan the reputation a+ being one of the most active countries in creation of these institutions. The point of creating a museum in Japan, Fe than inother countries, is tosymbolieally announce the weal fa city 0 pany. For this reason, the new museums are often little more than but the shells tend to be grandiose. What better solution in such in- nces than to call on famous architects to create spectacular buildings? The prob- f the formation of the collectionsis often left in imbo, all the mare so because #m for the proper universit rators. Curators and museum directars, with some notable exceptions, are more likely empty shel Japan does not really have a syst level formation of cu- ‘0 be administrators than persons who have a real passion for art. All of this said, the Japanese taste for innovative architecture, and the quality of construction, have meant that several new institutions are housed in truly remarkable buildings. Tadao Ando, for example, the Osaka-based master of concrete architecture, ently built the Naoshima Museum of Contempor ry Art on an isolated is! nd in the Inland Sea. Situated on a hilltop overlooking the heavily traveled waterways Herzog & Bankside Power Station London, Great Britain, 1995-2000 Meuronthe Louvre. The second generation is illustrated by mare flexible modern institu: 1¢ Pompidou Center and the Museum of Modern Art in New York. aki, the time's ripe fora third generation that abandons the conven: sum and provides specially designed spaces and settings for newly created andinstalled art, The town of Nagi counts only 7,500 inhabitants and as such could not be expected to boast a substant ki ed the arehitecture, but provided the art as well, with site-specific Ins designed by his wife, the sculptor Aiko Miyawaki, Shusaku Arakawa (Okazaki. Further design is integrated into a triad formed by the sun, moan and earth, the whole aligned withanearby auntain, The Nagi MCA is of importance not because of b integrated effort to create a symbolic structure, in harmony bot th the art that it houses and gives significance to, and with the local traditions such a Now, says onal concept ofa mu: | aet collection. So here, I e museum and ar do not have the lyrical grace of Ito's light atteactive and topography. Its rather blocky forms architecture, but Isozaki's thinking here has clearly gone beyond one A final example, which may not be the most successful work by Fumihiko Maki, xd near the Okazaki park in the north rn section of the city, just next to the enormous red tori of the Heian Temple is the Kyoto Museum of Modern Art, situ: ts large rectifinear bul nds out, and its rather awkward white entrance area re Municipal Museum ‘Yatsushiro, Kumamoto, Japan, 1989-91 ated on an artifical il, thieats Ieonaki Nagi Moca Nagi-cho, Okayama, fapan, 092-04 This mall museum was devigned display ofthe works of theee contemporary Japanese artists. In image, the work by Shuraky imagesof the famous Kyoto rden of Byoan: jt sinvated n nclined ube (208 page 96), ‘hich makes it wery atficult for the viewer to stand up straight ‘seems to accentuate the fundamentally weak holdings displayed within. Thisis one of Japan's few national museums, with limited funding provided by the Japanese Ministry of Finance. Because of administrative wrangling, it took no less than sixteen years to go from the original project designed by Maki in 1970 to the 1986 opening. Created in 1963-as an annex of the Tokyo Museum of Modern Art, the Kyoto Museum did not have a single work of modern art of its own at that date which explains a good deal of the current emptiness. The rest is undoubtedly explained by the fact that the acquisitions budget, of less than one million doll year, has not been increased in more than ten years. Because Japan has no fi encouragement for donations to national museums, the Kyato National Museum of Modem Artis left to fend for itself, seeking as it may to fill the large modern spaces designed by Fumihiko Maki.Mario Botts San Francisco Museum ot Modeen Art San Francisco, C fomia, 1990-94 oMaki's the foreground, and one of the Lowers ofthe Bay Bridge inthe brick veneer wolume, Botta pee be tecture. Ft does snd the muteu New American Homes for Culture The American system has permitted the creation of numerous museums, despite an almost total lack of government support. The direct intervention by central ‘governments favored in Europe, for example, is of course replaced by the fi ‘encouragement of donations in the United States. Because of the recession that ‘marked the later part of the 1980s, the creation of new museums in the United ‘States certainly slowed, although the West and Southwest continuedto feelaneed xo develop their cultural resources more than the developed East One of the most ambitious museum projects in the United States to be com. pleted in recent yearsis Mario Botta’s San Francisco Museum of Modern Art (1990 94). There was no competitions suchheld for the choice of thearchitect ofthis cen. tally located 18,500 m? museum. Rather, the Trustees of the Museum, which was created in 1935, interviewed five architects: Mario Botta, Frank ©. Gehry, Thomas Beeby, Tadao Ando, and Charles Moore. Located.on Third Street, nearthe Moscone Convention Center, the museum, which opened on January 18, 1995, is part of an urban redevelopment program covering an area of more than 40 hectares, first envisaged by the city of San Francisco in 1954, Its located acn Fumihiko Maki’s new Yerba Buena Center, whose light, hip-like style seems atodds with Botta's brick veneer cladding, and massive, almost windowless design. A cen tral oculus, which appears on the exterior of the building in the form of a truncated eylinder, brings light the street from the five stories of the building, and particularly to the generous, 7-m high top-lit galleries on the upper floor. Built on city land put at the disposition of SEMOMA by the redevelopment agency responsible for the Yerba Buena district, the new structure was built at a cost of $60 million, provided al entirely by private donations‘of the San Francisco Museum of Modern Art, like that of other sim- ilar institutions across the United States, naturally depends on the formation of major private collections, which eventually find their way into the public domain. ‘Southern California, with ts film and electronics industries, has been anarea where the collection of contemporary art, for example, has recently become quite fash- ionable. Of course few clients have the means to build a private museum of their own, but Frank Israel's Art Pavilion, located in Beverly Hills (1991), is an outstand: ing example of what can happen in the United States when talented architect and a majorcallector join forces. Located in an exclusive residential area, this 1,100 m? freestanding pavilion is next to the large home of the client, and connected to it by an underground passage. Intended to house his art collection and two floors of studio space, the structure is likened by the architect to a “great ark, containing an important collection of abstract expressionist ark, yet empowered by its contents to become a piece of art in the terraced sculpture garden.” The most spectacular space is undoubtedly the 8.5 m high top floor with its large timber trusses. The materials used are fiberglass-reinforced concrete for the upper, outside walls, with stucce below, chosen to create a harmony with the original house. The roof is covered in sheet metal and tile. A surprising exterior feature is a protruding boot shaped balcony. As the architect says, “Asmaller version of the great ark, itis intended to appear as if it were being raised from the garden below.” Frank Israels ‘ference to this building 3s a “piece of art” is one that should be retained, because itis yot another bit of evidence of the strengthened links between the visual arts andarchitecture, Rarely are art andarchitecture so intimately related, though, asin the Storefront for Arcand Architecture designed by Steven Holl and the artist Vito Acconci in New ‘York, Located on Kenmare Street, at the eastern extremity of the Soho gallery area: in Manhattan, this tiny wedge-shaped space stands out ax once because it doesnot have windows in any traditional sense of the word. Rather, pivoting concrete-and- wood fiber panels replace the old storefront, Cut into differently sized geometric shapes, the panels open completely towardthe street, withthe interior of the space being left much as it was, aside from & small offies cubicle. The Storefront is a ‘well-known New Vek location for rather politically oriented exhibitions, and the Girector of the space, Kyong Park, hopes to commission a redesign of the gallery every two years, Although this may not in fact be the immediate fate of Steven Holl’s design, the point that much contemporary architecture and design is funda- mentally ephemeral has been made. The Pace Collection Showroom designed by Holl at the comer of 72nd Street and Madisan Avenue (1985-26), for example, has already been replaced by a Raiph Lauren clothing store. The Storefront, where art meets architecture, is radical design for a new, unsettled era. The significant development of art museums in the United States over the decades following World Worll may in fact have reached a plateau. Thereare, after all, onlysomany masterpieces tobe found, and with so many other museums around the world competing forthem, it may no longer be very reasonable to expect tobe able to fill new galleries, unless an institution has the means of the Getty Trust. A new trend in culturally oriented architecture both in the United States and else- where is certainly toward museums that are oriented to history, society or to the performing arts. A significant example of such an institution in the United States is James Freed’s Holocaust Memorial in Washington, D.C. Froed’s former partner, |.M. Pei, completed the somewhat controversial Rock and Roll Hall of Fame in Cleveland, Ohio, in 1995. Pei may not have been the obvi- cous choice to build a monument to Rock and Roll, and he did receive a fair amount of criticism. As he candidly says, “I prefer jazz,” but the 14,000 m* facility that he designed on the shores of Lake Erieisatribureto the idea of architecture as “frozen music.” As the music in this case is exuberant or even violent at times, Pei’s surpris- 00 Sauce roe Aer Page 101 Mario Borta ‘San Francisco Museum of Modern Art ‘San Francinco, Caltforna, 1990-94 The central oculus ofthe SFMEMA ‘building brings a considerable ‘amount of ight not only into the wpper gallery Level, but down, {nto the entrance area five floors below. Thin truncated cone form ‘grathar typical of Botte archi ‘tecture, having been used for ‘example ina different manner ins Evry Cathesralin France.‘Antoine Predoc American Heritage Center Laramie, Wyoming. 1987-93Amoine Predock Americano tage Center Laramie, Ytyoming, 1987-99 Bow Peak and Pilot’s Knob in the distant Snowy Ra AGE and the nearer Laram edock says, thi a symbol fo Range. As ously monumental landscape abstract represent pus growth... anda spirit of Wyoming.~ Situated on a 10 ha site, the complex includes the American Heritage Center and Fine Arts Museum. The patinat Duilding correspon: atement of the powerful toan arby round basket images of a UFO, ane of thearchitect’srecurrin: of a moun inous volcanic shape or a strange warrior’s heln tes Predock pacity to fuse sources of inspiration that can be at gical and anchored in popular culture. The cone and its base house the American Heritage Center, a research facility for scholars. Along, terraced volume with flat roofs, trailing from the cone, houses the University of Wyoming Art Museum, with its collection of artifacts ranging from saddles to mineral maps and stills from Holtywn the architecture of Pueblo Indians, specially formed with a coarse aggregate. The idea of an architecture situated in some sense between the distant past and the imagined future was of course not invented by Antoine Prediack. Even the hi ood Westerns. The block-like elements of the museum, intended to recall are bul with sandblasted concrete blocks imet and UFO metaphors are present, for example, in the indoor 5 of Fumihiko Maki in Japan, Predock's American Heritage Center is no} further ind cation of the liberation of architec to seek new and unu Such forn are naturally more effective if they yan element of hist geological presence. In factit seems entirely natural that the cultural sphere wo be one in which an effort and prececupation: of architecture would reach fruition. The projects published here are by no means an exhaustive panorama of new cultural facilities, b of the breadth and inspiration of current thinking. bring together the diverse tren; they do provide an indicationMassimiliano Fuksas Montaigne University ‘rt Scheol Building Bordeaux, France, 1993-94 Calling on a patinated copper fin ih with very few visible opening which emphasizes the ceuiptural quality ofthis building, Fukias reaslagly clove connection between art and arenstectore Seating his admiration for st ike the italian painter Fontan, he compoted this building wathCongress, Worship, Sport and Study Museums as such have certainty offered ample opportunities to modem architects ‘to express themselves quite freely. Over recent years, however there has been a ‘trend to group cultural functions together in complex centers such as Arata Isozaki’s ‘Art Tower Mito in Japan or, in a different vein, Richard Meier's ambitious Getty Center. Both of these centers include spaces for the exhibitian of art, but their program goes far beyond that of a museum. Indeed places of gathering, whether cultural of intended for congress ond worship, whether meant for sporting events Of as schools and libraries, represent a wide field whose inherently demonstrative Mature encourages authorities to call more than in the past on well-known archi- tects. As in other types of construction, these facilities have been subjected to rigorous budgetary constraints, and have benefited from the ability of architects to design innovative forms, specifically adapted to circumstances, and often Produced through the intermediary of computer-aided design. Congress and Worship ‘Twobuildings by the Japanese architect Tadao Ando, one situated in Europeand the other in Japan, illustrate the variety of small places of gathering conceived by con- temporary architects in recent years. The first, the Vitra Conference Pavilion (Weil am Rhein, Germany, 1992-93), is situated in the midst of the Vitra furniture factory complex, where Frank Q. Gehry, Zaha Hadid, Nicholas Grimshaw and Alvaro Siza have also worked. This small structure, with a ground floor of 420m”, a first floor of 218 m? and a basement measuring 202 m?, is made af concrete, American oak and glass. Concreteis of course Ando’ s favorite construction material, and this structure Proves his ability to obtain excellent quality, even outside of his native Japan. Ando's. own words about the building give some sense of his approach: “The build- ing stands on land of almost unvarying flatness, with a cover of cherry trees. When first visiting the site, | was struck by the quality of ‘movement’ that the Frank O. Gehry Design Museum projected so powerfully. Opposite Gehry’s architecture of ‘movement.’ | introduced the element of “stillness.” Choosing the most static of all forms = the square = ! employed it in the plan of a sunken court, inset into the flat site... By thus engaging the buildings in a relationship of tension, my ultimate aim ‘was to produce a place of strongly provocative character.” Indeed, the alignmentof Ando's structure vis-d-vis the Gehry museum is such that itis impossible to see the museum from within the conference pavilion, Itwould seer thatthe tension sought by Ando is a case of rejection here as welll. Ando’s Buddhist Hompuku-ji Temple, on the island of Awaji in Japan, does not suffer from the same kind of architectural rivalry. Although integrated into an existing monastery, it sits with an unobstructed view of the Bay of Osaka. Unexpectedly, the hall of the temple itself is placed bent an oval-shaped lotus basin, reached through a descending staircase that bisects the basin. Before reaching this entry, the visitor is obliged to go around a tong and quite remarkable ‘concrete wall, Clearly, here, as in Weil am Rhein and in other structures that he has PucesorGanennc 119Weil am Rhein, Germany, 1992-19building marks a clear relation 0 the Ja although these effect ‘¢ attained with very jecn materials such as perf uminum, Ag Mal ible for any architect to imposea sense of order on the aj yy chaotic urban environment that is Tokyo, but the quie elegance and understated strength of Tepia shows that apanese architect fully capable of attaining the de! past and future rary buildin s surely the mos significant hallmark o ¢ recent buildings and one computer-generated evolution of the architecture Richard Meier's Stadt November 12, 1993, enter in Ulm, Germany, was de he 3,500 m? three ry complex cad in Rosa 0: netal panels, houses exhibiti sembly hall, acafé and atourist in k and white oforthe ways in which Ric sign, butalsi wed by the design. The historie center of this town of 100,000 im Minster Cathedral, EightTada Anas Hompuky Temple Awajshima, Japan, 1969-90bomibing in 1944, and the reconstruction of Ulm was carried out without much regard for the quality of the architecture. The curving, pedestrian Bahnhofstrasse leads fromthe train station tothe square, where Meierhas placed.acurved wall that leads people into the square. A glass bridge with a pedestrian underpass links the two basic elements of the structure, facilitating the penetration of the space, as do the numerous possible points of entry into the building itself. As Meier points out, one of the interesting features of the building is the proliferation of points of view throughout the building toward the cathedral spire. Undeniably successful, Meier's Ulm Stadthaus shows that modern forms need not be contradictory with historic cavirorments, even in the densely packed context of old European cities. Thisnote of clarity and order in fact greatly improves the city center of Uim, which was not rebuilt with much concer for architectural quality after the war. This is a place of congress which in many ways gives Uim its own heart back. Its on urban center of gravity, predicated on the neighboring cathedral, but resolutely of our time. Mario Botta's Cathedral in Evry (1992-95) faces a related problem in giving a cemer toanewcity, created without any real sence of urban design. Located ust to the south of Paris, Evry isa rather ugly modern town. Calling on the truncated cylin. drical form that he seems to favor, Botta erected this 4,800 m? church with a reinforced concrete structure and brick cladding on both the exterior and interior The apparently unusual form of the cathedral, 2.38.5 m circular plan, in fact makes, reference to Byzantine churches, and in this respect looks back to the origins of Christianity. An unusual triangular metal frame carries the roof structure, admitting generous amounts of daylight, making the interior very agreeable if not as obviously spiritual as in Ando’s chapels for example. Criticized as a costly venture ‘that the church could ill afford, this cathedral, the first built in France for more than 2 century, in fact proclaims the living faith shared by parishioners in this modern context. With the square in front of it, the Evry cathedral gives some sense of a center to this ville nouvelle, which is otherwise devoid of architectural common sense. Rem Koolhaas and the Office for Metropolitan Architecture (OMA) were chosen to design the master plan of the Euralills complex in Lille, France, in November 1988. Physically separated from the rest of the buildings designed by Jean Nouvel Christian de Portzamparc, Claude Vasconi and Jean-Marie Duthilleul, the Grand Palais conference center and exhibition hall by Koolhaas is surrounded by heavily traveled roads, With a total of 50,000 m? of usable space and a 350 million franc budget, the Grand Palais certainly deserves ts name. The 300m long oval structure includes a 15,000 seat rock concert hall (Zénith), three auditoriums, an 18,000 m* wide open exhibition hall, and parking for 1,200 cars. The first of impression of the visitor who enters the building is one of surprise, A great deal of exposed concrete anda large corugated plastic "column of ight” lead to an astonishing double stair- cate. Plastic, plywood and other inexpensive materials are indeed the hallmark of the Grand Palais, forbudgetary reasons, butitis a measureof the talent of Koolhaas that he has turned this problem into an interesting design feature of the structure. As for the master plan of Euralille, Koolhaas has explained that the internal com- plexityf the Grand Palais means that it has urban design on the inside. The theories cof “urban congestion” elaborated by Rem Koolhaas conclude that itis useless to try to impose any order on urban sprawl, and that it is much mare constructive to live with the inherent disorder of the city. This unusual stance may well find fruitful ap plicationia truly large cities such as New York, Tokyo or Jakarta, but Lille hasno such dimension. That said, the concentration of facilities, from office towers to a shop ping center and the Grand Palais itself nearthe Eurostar rail station in Lille, make for 3 place of meeting that undoubtedly will enrich the life of this northern city. The successful use of inexpensive materialsin a large-scale structure also shows what a talented architect is capable of doing with rather drastic economic constraints v6 Puscesor Garman Pages 1160117 Fuminika Maki Tepia Tekye, Japan, 1985-89 Occupied by MIM (Ministry of Incermational Trade and lncutry) this puilion for science and high technology istocated nest tothe Mai Parkin the Minato-ku area of Tokyo. As Mate says. “The high standard of technology ang erate ‘manihip maintained by lapan's system of building and construc tlonhas made this designandite etsis possible, tn il keto, anequivalent level of technology ang.raftsmanship may not endure Indfinivaly; thus Tepia tins ‘sense a testimony to Japanesedeh author of ene of the towe rtzampar n the Euralille complex, is «af rebuilding the Paris P ais des Congrds, located at the Porte nch capital. The program includes the refurbichment of 13,606 m aces, and the ereation of 49,915 m? including exhibition spaces, the Paris Cham s ving the facade forward and restructuring the t. The facade itself will b igns offering a clear hint of what is going on within sensitivity to the urban environment in this admittedly difficu! ce there is little neighboring architecture, th rm of computer-generated perspectives, represents an solution to the frequently pose conference room xtra space is to be obtained by mo Maillot roundal Commerce. T kewed forward, with and extern Palais de Congres through roblem of adaptive reuse in cioll) re 4 an aS yeBibhotheque nationale de France Libraries and Schools As culturally oriented buildings, libraries and schools have i of the types of buildings that talented contemporary architects are ask 3 Afterthe a um, the library may be one of the most potent symb tural achievement and intellectual prowess. Although London has long been w the new British Library, the most spectacular t library project anywhere in the world is most probably the last of the Grands Travaux of Frangois Mitterrand, he so-called Bibliotheque nationale de France is located in the 13th arrond: ment of Paris in.a zone formerty occupied essentially by the rail lines leadir Austerlitz train station, With its 450 km of ves and 4,000 seats in jecture room {000 m? buildin: nly be concept of four 100 mhigh towers placed like” c ada central sunke garden was vigorously attacked by a number ause of the obvious difficul because of the danger to the volumes expos were originally intended to be highly transparent. Thbetter protect the volumes kept in them, an of the complex. Despite ects of the Bi Serra, the harsh a: liotheque are mm the reading Eden, t millions of volume: sminique Perrault intended t al Sin and # tothe crigin of here. Many this pi the strong presence of the towers to crit d the times in terms of a ially as viewed fron in, indeed its very size, makes it a the fact that a ature of this buildi ‘eckoned with, There is certainly a case to be ma ficient to grasp th central garden is an unusual asp hain mail” stainless steel ceiling material within. Perrault him gs rarely m inken garden, Rather, like Le C about the ground, either on pilotis or by sitting ligh most Freudian y, Perrault claims that the Bibli Jeque is far removed from ‘wi Orvder Phoenix Central Library Phoenix, Arizona, 1988-95‘he modern purist tenants, and he may be right about that. In any case, through ‘massive intervention of the French government, a new place of intellectual gather jing has been creaved in Paris, Another urban symbol of significance is the new Phoenix Public Library designed by Will Bruder. This structure is intended to serve as the central library of Phoenix, ‘Ariz6na, until at least 2040, and presently contains over one million volumes. No lore than 40,000 kg of ribbed copper cladding cover the exterior of this 26,000 m? library, especially on the east and west facades. The couthern elevation is entirely ‘9lass covered. Inside, the ground fleor combines current fiction, audio, video, com: puting, a children’s reading room, a theater, and a café. The library's services are ‘spread an five floors with copper-clad mechanical and service “saddlebags.” which protect the interior fromthe extremely hat desert sun. The mast spectacular inter ior space is the fifth-floor 4,000 m? reading reom, housing the entire collection of circulating non-fiction books. Arrival to this "great room” is via glass elevators or a grand sculptural staircase of steel, concrete and translucent glass. At the center of the building, there is a five-story atrium/light well, which Bruder has dubbed the “Crystal Canyon”. As this name makes clear, the architect intends this building to have a close relationship to geology. Born in 1946, Will Bruder was self-trained as an architect, but his early apprenticeship under Paolo Soleri and Gunnar Birkerts gives some hint of what he calls his “pursuit of ‘architecture as art’ married to 3 hands-on sense of reality.” As in the case of Predock’s Laramie building, copper is an important element in the cladding of the new Phoenix structure, but here the scaleis larger. Bruder’s own description of the building makes clear his intentions: “Arizona's natural beauty provides the poetic metaphor for the library's image. A majestic mesa transplanted from the fantastic landscape of Arizona's Monument Valley.... The building's exterior appearance is original rather than traditional, rather like a geological landform or abstract minimalist sculpture.” Both Bruder’s reference to “architecture as art” and this last comparison to “abstract minimalist sculpture” relate his work to the trends already demonstrated for architects as dif- forent as Frank ©. Gehry and Steven Holl. Coming from the Southwest, where urban ‘growth has been strong and the remarkable landscape is never far removed, Bruder, like Predock, calls on a more distant past than any architectural tradition. This search goes back even farther than the “primitivist” exploration of the early mod: 26 PLacisor GaTwenNG Pager 126/027 Massie Fale Montaigne University ‘Ar Schoo! Buiding Bordasu, France, 1993-98 Contrasting with the patinated copper used formort ofthe esdiding, Maseimiliana Fultas decided to use strips of rome to cover the perched wolume of the eamput dis tation, whieh i Cantilevered forward, above the mass ofthe sculptural base, Lit {rom the interier,itbecomes even lighter in appearance at night.‘em artists to touch fundamental elements that are still very much part of everyday life in this area of the United States. ‘Naturally, not al libraries take on the huge dimensions and mythological ambi- tions of the Bibliothéque nationate de France or the Phoenix Public Library. Much more modest structures do exist, as is the case for example of the Towell Temporary Library on the UCLA Brentwood campus by Hodgetts + Fung, already mentioned above. Here a lightweight architecture, which is naturally easier to conceive in a benevolent climate such as that of Los Angeles, houses a light-filled and highly functional library space. ‘Although not in such an obvious way as museums or libraries, schools have also Provided occasions for architecture to further its development inrecent years. The new Arts Center of the Michel de Montaigne University in Bordeaux, France (1993— 94), isa case in point, Designed by the Italian architect Massimiliano Fuksas, itis intended to bring together different dis , such a5 theater, music sculpture, radio and cinema. Along, narrow building, cut in halFlengthwise and pierced by two large vertical shafts, itis clad in a skin of light gran oxidized copper. The radio studio is positioned on the roof and is clsd in wood. Fuksas feals that contemporary architecture is more and more influenced by art. He cites the Italian painter Lucio Fontana as a personal favorite, but it is clear that the sculptural presence of his Bordeaux art school owes much to sculpture as well. The gathering of different artistic disciplines in this structure obviously pleads in favor of his own belief that architecture itsetf is now in a position to reclaim its true identity as an art form. A skilled practitioner with extensive experience in the construction of low-cost housing, Fuksas is far from a dilettante, and his concept and the explanation he gives for there should be considered as significant of wider trends in architecture. Three teaching facilities built in Tokyo in the past ten years exploit different approaches to the problems of the relationship between education and architecture. The most remarkable and important of these is undoubtedly Kazuo Shinohara’s Tokyo Institute of Technology, Centennial Hall, located in the Meguro area of the Japanese capital. Completed in 1967, it indeed corresponds to the architect's description which was of a “machine floating in the air.” Calling on the Japanese architectural tradition of undefined spaces, Shinohara created a20m high space to be used for exhibitions or other university functions. With bare concrete walls and ‘exposed piping, electrical lines and airconditioning ducts, thisareahas anindustrial aspect, whichis due in good part to the low construction budget. Above, the build. ing is bisected by its most obvious feature, a slanted semi-cylindrical volume, which houses a restaurant. Apparently disordered, the Centennial Mall corresponds at ‘once to Shinohara’s thoughts about the underlying order of the Japanese metro: [polis and to his examination of machines like the Lunar Landing Module (LEM) or ‘the American F-14 fighter plane. The “terrifying efficiency” of these machines ‘means, a5 far as Shinoharais concerned, that it is not necessarily a straightforward ‘geometric composition that best corresponds to the function and appearance of a ‘building, Makingreference torecent scientific “chaostheory,” the seventy year old ‘Shinohara, who has had considerable influence on younger Japanese architects like ‘Toyo Ito and Irsuko Hasegawa, predicts that the forms of the future of architecture willlhave more todo with new perceptions of efficiency than they will with outdated concepts of esthetic harmony. Esthetic harmony is certainly far from the mind of Makoto Watanabe, a forty- five year old architect, whose 1990 Aoyama Technical College building in Tokyo looks like something outof Japanese cartoons. Seeking an “organic” architecture in ‘other crystalline designs, Watanabe here seems fascinated by the mechanical or robotic metaphor. His school looks like it could get up and walk away, fitting easily into a “Godzilla” movie or “Power Rangers” television feature. He certainly does ‘not reject the notion that popular culture is 2 source of inspiration for this highly 8 Laces oF GarwenineMakoto Sei Wat Tokyo, lapse, 1988-90 ding, Despite an apparent rejection ofthe formalist vocabulary used by like Ando, Watanabe does not seem that far in his eoncep a3. from the radical chaos-oriented theories of Shit ‘5 17,604 a? Tokyo Budokan, completed in December 1989, is a ¢ judo, archery oF other traditional Japanese taught. Rejecting traditional materials and direct reference to ural higtory, Rokkaku sought his inspiration for the facade of this building jountain ranges. His careful choice of materials and ifferent elements nonetheless give a Kijo Rokkak 1 of 2 differe kind. Here i the for building, which is naturally heightened by th icing traditional sportsCultural Centers and Concert Halls nd toward cultural led fArata thoraki Mito, Japan, 1986-90 designed by sczaki' friend the robably to some extent inspired by the paperlamps conceived zaki’s friend, the late sculptor Isamu Noguehi. It alte bears 8 certain resem. 5 “Colonne sans fin.” Though its ferm is certainly dists 1@ Centre Pompidou in Paris, it seems clear that the intllectual model for cert halls and is indeed French. The Art Tower Mito is redolent with historic from Sir John Soane to Claude Nicolas Ledoux, but as the architect says \umorous fashion, “Every element is treated ina schizophrenicmanner ecomes coherent,” Isozaki certainly went through a Post-Modern ly designe center, here including an exhibition space, bly with his 1983 Tsukuba Center, but here, despite the numerous ‘ences, he has already 1¢ beyond the Post-Modern pastiche n unusual work of art. The culminating point of Art Tower Mito is pre:on by BFumihiko Maki, Kenzo Tange, Vittorio Gregotti and Arthur Erickson in November 1989, which is to say before the speculative real estate “bubble” broke in Japan, This explains the extremely ambitious nature of this project, whoze form consists of two intersecting glass and stee! ellipses enclosing an enormous central labby. With 2 total floor area of over 130,000 m’, and a project cost exceeding $1 billion, the Tokyo Intemational Forum may indeed be the most expensive and vast building of its type in the world. The elliptical shapes of the structure confer a fundamental ‘geometric simplicity to this building, which placesit very muchin the current stream of architectural thought, despite the relatively long period between its initial conception and the 1996 completion. ‘One consequence of the numerous competitions heldiin Japan and elsewhere to design cultural facilities is that a large number of ralented architects have thought about this problem. Even their unchosen, unbuils works are interesting in this respect, and may often have an influence despite not being completed. Such is the case with the French architect Christian de Portzampare’s Nara Convention Center Project. In this 1992 competition, won by Arata Isoraki, architects were asked to design a group of three halls: a 2,000-seat convention and show space, a 500-seat concert hall and a 100-seat multi-use hall. This was one of Portzamparc’s first ventures into computer-aided design, and his elegant project shows the influence of this mode of thinking on the forms of the project. Fumihiko Maki’s Kirishima Cancert Hall, mentioned above, is just one stunning example to prove that not every new cultural building in Japan is conceived in the multi-use pattern of Art Tower Mito. Here the musical function is clearly announced and preserved, and Maki has shown that elegance, Japanese tradition and a fundamentally traditional program ean be blended into a stunning contem- porary building. Onthe other side of the Pacific, in San Francisco, Makiis alsoresponsible for the ‘very successful Yerba Buena Center, located just across Third Street from Mario Botta’s San Francisco Museum of Modern Art. Necessarily light inits.conception be- ‘cause it is built over underground spaces of the nearby Moscone Convention Center, the Yerba Buens building is like an aluminum ship, docked near the Yerba Buena park. Unfortunately, despite the proximity of Bottaand Makin thisinstance, with a theater built by James Stewart Polshek also very close by, there seems tohave ‘been very little cooperation and contact between the architects. Although this might be deemed to be the responsibility of the public authorities involved in the planning of the projects, itis significant of contemporary architecture that true ‘cooperation, especially between such well-known figures, is rather rare. For those who keep score in such instances, it would seem obvious that Maki’s light and flexible Yerba Buena Center is architecturally more successful than Botta’s heavy ‘and rather mausoleum-like brick veneer museum. 196 Paces oF Gann:E Sas efAgain, with the constraints: and other financial difficulties for new cultural facil ed cite midway between the Pacific and downtown Los imated ing $115 million. The new he most active areas in the United Stat most impressive of these by far is Richard Meier's Getty Center, |i lar wind: every figures. 3 is $733 million, with the site preparation alone ‘enter will provide 87,800 m? of space excluding entrance and park facilities. The complex will cover 9.7 ha of the 44.5 ha site. An adjoining 2 wned by the Getty Trust will preserve the natural quality of the an est project granted to a chitect in the late -wentieth century. And the first impressions of it confir mark the ve an impression of the size of this project. It respects, this is the lan ngle period in more ways than fe. “In my mind's eye, Richard M 19, serene and ideal, from the gant and tir ape. Sometin hillside, a kind of A I think ructure as standing Our rotelian structure within the land: ‘and sometimes | see the at the landscape overtakes embrace ng the landscape; the twoare entwined inadislogue, aperp. in which building and site are one. In my mind I keep returning to the Romans - to Caprarola - for their sequence of spaces, their thick-walled ir sense of order, the way in which building and landscape belong Fumihiko Mai ‘Yerba Buena Center forthe Arts ‘San Francheco, CoFrank ©. Gehry Disney Concert Hall Los Angeles, California, 1988- (project) Located just down the stet from Arata xozabi's Museum of Contemporary Art, the Disney Concert Hall hailed #8 Frank O. Gehry’s frst reaty large building in the United States has unfort sataly not yet baen built due to ‘ost-related factors. ft remains se intriguing ved uncovbtedhy Intusatisl detiga, Set above the San Diego Freeway, the Getty already stands out like a fortress or monastery above Los Angeles. Thisis in part due to the vast retaining walls cladin Cleft travertine. This Italian stone strikes an entirely new note in the architecture of Richard Meier, and highlights the deep connections thathis architecture has always had to the monuments of the past. Various forms of local opposition obliged the architect to abandon his trademark white surfaces. Even themetalpanels used here will have a light beige tone. Although he insists on the “Italian hill town” aspect of the design, the complex as itis being built does have a rather remote appearanc which is clearly alleviated a5 the visitor reaches the esplanade in front of the Museum. With its facilities not only for the J. Paul Getty Museum but also for the ‘fumerous other activities of the Getty Trust, this mountaintop monastery of @ cultural center witl be only partially open to the public. It will also conserve a func tion of research and scientific study. As such it is unique, and perhaps unlikely to serve a5 model for any other institution in the foreseeable future. In architectural terms, many critics have said that it will be a 1980s building completed at the turn of the century, andas such out of phase with newer trends. Knownas adyed.in-the. wool Modernist with a strict geometric vocabulary usually expressed only in his trade-mark white, Meier does nonetheless succeed here in operating a delicate transition toward a period in which deep-seated references to historic tradition or even geological presence are expressed Amore complex case is that of Frank ©. Gehry’s Disney Concert Hall, Situated near Arata Isozaki's Museum of Contemporary Art, this home for the L.A. Phil harmonic should be clad in limestone, lke the Ameziean Canter in Paris. Its form has been compared to.an “exploding rose,” and this complex shape led to s.certain amount of criticism. Due to projected cost overruns and the inability of fund rsicers tofinda complement to the $50 million given in 1987 by Walt Disney's widow Lillian 8. Disney, it has been suggested that the building might be clad in gray titanium as ‘opposed to the more expensive limestone. As of the end of 1995, with a budgetary shortfall estimated at between $80 million and $120 million (according to News weet), the construction of the concert hall had not advanced beyond the under- ground parking lot In Europe, although many other examples of multi-use cultural facilities exist, one of the most interesting is Jean Nouvel’s Fondation Cartier, located in Paris. At exhibitions, small concerts, theater and other cultural events can all be held in this Psces oF Carvee deBreaking down the Barriers ‘As has already been suggested above in several specific cases, one change that has ‘occurred in recent years is that art and architecture have drawn closer together. In ‘a sense, this movement seems only natural. As John Ruskin said, “No person who is not a great sculptor or painter ean be an architect. Ifhe is not a sculptoror painter, he can only be a builder." The twentieth century has been rich in movements com- bining painting, sculpture and architecture, from De Stijl and the Bauhaus to ambi- tious if misguided efforts to use all of the arts to the ends of propaganda in Germany, the Soviet Union oF Italy from the late 1920s to the war years. Major in- ‘ternational exhibitions such as the ane held in Paris in 1937 were showeases for thie kind of synthesis of the arts, with Albert Speer’s monumental German pavilion or the more interesting Spanish pavilion, designed by Josep Lluis Sert. containing work by the sculptors Julio Gonzalez or Alexander Calder, a3 well as Picasso’s cele- brated “Guernica,” which was painted for this occasion.* Nor was the effort to integrate the arts limited to Europe, In the United States, through initiatives such ‘as the Works Progress Administration (WPA), artists who were later to become well known as members of the New York Schoo! participated in public art projects, The Mexican artist Diego Rivers executed large murals, 2 first one for the Detroit Institute of Fine Arts in 1932, which was criticized as ireligious, and another more famous still, his "Man at the Crossroads,” for the Rockefeller Center in New York. The presence of a portrait of Lenin in this work led to its removal and eventual reconstitution at the Palace of Fine Arts in Mexico City Inmay be that the so-called International Style, which called for an architecture devoid of “ornament.” and the frenzied pace of post-War construction led to earl- ier efforts tointegrate the arts being abandoned. It should be said thatart too, hav- ing shifted its center of gravity after the war from Paris to New York, lasts will to participate in anything other than its own aggrandizement. This was to be the time of “art for art’s sake,” when individual painters and sculptors would execute works that no longer required a patron or a government to support them. The art market in its contemporary version developed a thirst not for murals or paintings made to be in a given place, but for readily movable pieces, at home in a living room or a museum. More recently, recession and.acertain sense that art had reached the limits ofits alternative tendencies toward provocation and minimalism, have led numerous artists to strike out into three dimensions and to create works that certainly recall architecture. From the other perspective, that of the architects, the search for al- ‘ernatives toorthadox Modernism and superficial Post-Modernism has led manyto look toward art for inspiration. Then too, the rallying call of many architects has been for their work, once again, a5 in the past, tobe considered art in and of itself. ‘Anumber of examples, drawn from Europe, the United States and Japan, show just how-artand architecture have been drawn together to the point where the di tion between them often blurs. ince Aer ane Aacurcrunt 145_— hel = = SS — —— a=: —=— ted es Sy <= poEurope: Building Art have specifically sought, through installations and other less arti ces in the urban environment. Suchis the case of the works made with striped. phemeral works, to occupy | achartist Daniel Buren, whois best known: One intervention of his, ordered by Jack Lang, in the inner cou a Paris, in front of the of Culture was highly co ‘ose who were not sympathetic to the Social tyard of the Palais found his black and ble in this historic environment. Contested much white striped columns intole Terreaux in Lyon o¢e nt intervention on the Place di his centeally located square with a geometric pattern of fountains. T Buren makes no pretense here to creste architecture, he does enter into a dialogue ith the environment, ineluding the Musée des Beaux Arts and the rear of the city nall, both of whieh are historic monuments. Just down the street is Jean Nouvel’s Dera house, which was made by hollawing out the original Lyon Opera hi Chenavard and Polletin 1831, Jean Nouvel managed to triple the inter f the structure by digging below, but also by adding a sculptural 20m high semi: 1d for the practice areas of the opers ballet ventions, one more oriented toward architecture and the ylindrical drum to the top, which company, These int ther toward art, create a meeting place for the two in an old European city center, nich is iteelf an accomplishment Christo & Jeanne-Claude are well known for their wrapping of various objects, Juding the Pont Neuf in Paris. But their most difficult andmost architectural work was certainly the 1995 “Wrapped Reichstag,” in Berlin. Obviously, the compl ‘ory of this building and its central place in the German psyche, together with the ‘sion that it would once again become the seat of the Bundestag, made the hristos’ project a iver one, may have >rought forth memories both within Germany and abroad about the past and the of Berlin, Although ten f cloth illustrates the potential for aningful symbiosis between. ine very active architect who has attempted to confront the questions posed by he relationship between art and architecture is the Italian Massimiliano Fi he results of his investigation can be seen in the recent Niaux Cave Entrance, and his the more controversial. A shroud, even yporary, this skin o and architect Danial Buren ce des Terreaut Lyon, France, 1984Just as architects have been drawn tow: curred. A.case in point is that of the artist Ilya the Soviet Union in 1933. His monumentalST EEjon represents the work site of an enormous building, Pages 154 ce of the Future. The bases of five enormous columns i a magnificent Pal n-Preere Raynaud by scaffolding are visible. Below, construction materials of various La Mastaba k led... and in the middle of the site, there is a panel showing what a oes ame the completed Palace and the city around it will be... But by pace . y, the visitor will notice that the work here stopped long ago, and an a ea ' ing has been abandoned. The scaffolding and the construction materi ture is neither the home ofthe , \yahuge waste heap. .. What was supposed to be a radiant future became artist, nor his atelier, Ie €+5 present, and no one seems to know where to go."" Though Kabakov's priate ion is related to the specific problems of the ex-Soviet Union, hi valid for many other grandiose architectural plans. The ngé to his work also permeates the thinking of archi. tects such as Steven Holl, who seeks to embraci isorder that he b the fundamentally ephemera ture of urban buildings owe Moving once again to the perspective of an architect who creates ina sculptural entire jazuki Meditation Center, in Tayama, Japan (1991~93) by Barcelona: based Enric Miralles is certainly striking, According to the architect, “A bridge a small park and an old pilgrim’s path are unified and attuned to each other xc a union with the rugged beauty of nature rabesque of steel tubes encircl a viewing platform, integrating hitecture and site-specific art in the young French architect responsible for the vast new inart. “The > of the library represents an attempt to create a work which is of its time. The art m which Ilook ationale de France, in Paris, makes clear his own interest for inspirati¢ Land Art or Minimalism | would have like to have shown this building to Donald Judd before he died. Richard radid visit it, and he was extremely favorable in ments. In my opinion, it reto imilate the art of our time, ys Perrault. Whenasked why he feels that art movements that reached their high point twenty years go oF more should be looked to for inspiration, Dominique Perrault responds, “Twenty years is just about the gap in time which exists between art and architec: ture.“ ‘The French artist Jean-Pierre Raynaud often creates artistic environments that call on a refined sense af architecture, such as “Human Space,” a piece created in 1995, for the Ludwig Museum in Cologne, Raynaud has gone @ step beyond this reference to the built environment in the Paris suburb of La Garenne-Colomber, where he created a structure that he calls “La Mastaba.” Neither a home, nor a private museum, itis rather a space for the contemplation of his own art. The blank exterior walls are covered in his favorite white tiles, and the shape of the building, together with this immaculate cladding, makes for an incongruous presence in 3 fundamentally working elass neighborhood. Although Jean. Pierre Raynaud worked with the architect Jean Dedieu to build this highly unusual structure, its conception ishis. Here, one takes a narrow staircase that leads below grade. Both the form of the mastaba and this stairway going intothe earth bring forth references toancient funerary architecture, which the artist does not reject, despite his thoroughly mad- ‘ein approach to art, This is a space of communion with art, and certainly with the prospect of death, Though the first function is readily assumed in much contempo- rary architecture, the second is usually avoided, although it is one of the great themes of the architecture of the past. Itseems that it was necessary for an artist to build a structure so that architecture could find some of its own profound contact with the past, while remaining a witness to the present. Just asart may enrich new forms in architecture, 60 furniture and interior design sometimes play their role. Another well-known figure in France, Philippe Starck, recently created the Felix Restaurant in the Peninsula Hotel, Hong Kong. Though ‘this is, strictly speaking, an interior design, it does make a case for the very type of curving unusual forms that Starck has translated into built form on occasion, espe- cially in Japan. The idea that furniture and other objects can take on unusual new shapes cortainly has a bearing on the creative trends in architecture, as Starck, Mendini and others have proved. Finally, an example of the work of an architect that verges on the sculptural should be cited here. Bernard Tschumi’s La Villette Follies, on the northern peri- phery of Paris, challenge the barriers that exist between art and architecture, Usually, it is said that architecture must serve a function, whereas art may be devoid of such practical concerns. Tschumi’s follies, emblematic works of the Deconstructivist movement, da accasionally actually serve a purpose (ticket office, café or Red Cross station), but just as often they are decorative objects that give a geometric pattern to the vast Villette park area. 196 Arr An AncwrtcrURE Pape 157 Philippe Starck Felix Restaurant ‘Peninsula Hotel, Hong Kong, 1995 ‘Situntad on the thietiathfloar of ‘one of the finest hatels of Hong Wong, this small 165m? space Includes a 100 seat restaurant, ‘two arsandaminuscule \dicothéque. Starck’s seme of ‘the use of epace has led him to “cron the barrier between devign sand architecture, building his own ‘structures, mott natably in Japan,Architect/Artists and Artist/Architects Frank O. Gehry’s thoughts about the inspirational nature of contemporary arthave already been quoted in this volume. Two examples of his work, both located in Venice, California, give an idea of how he integrates art and goes on to create his ‘own kind of sculptural work. The most notable feature of the Chiat/Day Main Street building (1986-91) is the central part of the facade, formed by an enormous pair of binoculars designed by Gehry’s friends Claes Oldenburg and Coosje van Bruggen The distinction between art and architecture is further blurred here by the fact that cars enter the structure by passing beneath and through the binoculars Furthermore, small office or conference spaces have been created within the binocular cylinders. Gehry’s Norton House (1982-84) is a three-story residence built on a narrow beach-front lot facing the Venice boardwalk. It reflects the chaotic architecture of its environment, and calls on such varied materials as concrete block, glazed tile, stucco and wooden logs. Its most notable feature isa freestanding study modeled on the lifeguard stations that dot the wide beaches of Venice and Santa Monica. Just 3 few meters from this house, California blondes, roller skaters, muscle builders, homeless people and tee-chirt venders jostle esch otherfor attention, and the extraordinary vista toward the Pacific opens. In this very particular and ephemeral environment, Gehry has created a house that responds in an original way, and breaks the usual molds of contemporary architecture. itis, inalmost every definable sense, a work of art in itself, calling on the popular culture sources that in fact inspire much contemporary painting or sculpture. “Two-Way Mirror Cylinder Inside Cube" is a work created by the artist Dan Graham for the Dia Center for the Arts in New York in 1991. This was one of the pro- jects chosen for Terry Riley's 1995 "Light Construction” exhibition at the Museum of Modern Art. As curator Terry Riley writes, “Graham's Two-Way Mirror Cylinder inside Cubs, a work which clearly occupies a position ‘in between,’ consciously refers to the history of glass architecture... But Graham's work... transcends & purely esthetic approach. By incorporating it into his Rooftop: Urban Park Project, which he characterizes asa utopian presence’ in the city, he elevates the work from the status of mere formal abstraction. His contemporary urban park = which, fike:its traditional counterparts, seeks to reintegrate alienated city dwellers with their environment while providing a contemplative place apart ~ restores the aesthetic dimension of the glass dream and paints toward the idealism that sustained it.“*" ‘The “in between” referred to by Terry Riley is naturally the situation of a work that is between art and architecture, a status that seems to be more and more frequent both in the work of artists and in that of architects, One of the seminal figures of contemporary art, occupying a unique position as British exile living in Los Angeles, David Hockney projects his ideas of imaginary space, often expressed in his opera decors, into the shapes of his canvases. Avisitor tohis Hollywood Hills residence, at the end of a winding road far above the broad boulevards of Los Angeles itself, immediately grasps that his plan is nothing other than to have the vivid colors of his imagination spill out into the “real” world. With his painter's eye, he has transformed his own house into a three-dimensional paint: ing, choosing colors rarely if ever seen in such juxtaposition elsewhere but in his canvases. In works like his recent “Double Entrance” (oil on 2 canvases, 183 x 427 com, 1995), Hockney explores what he terms “imaginary” space, seeking to go beyond the experiments in this direction of the cubist artists. Fundamentally, such investigation of the very nature of space is precisely the kind of art that should and most probably will have a direct influence on the thinking of architects. Theres no longer an unwritten law of construction that provides that only rectilinear struc- tures can be erected in an economically reasonable fashion. Computer-aided design and advances in production methods clearly make it possible to build almost any 158 Aerano Ancoerecrueeshape that an architect or an artist can imagine, so why not a vividly colored maet. het wouldbeto makesuchspacellivable while affirming the power of art to break existing molds strom of shape: of thearchit ‘One woman who has co challenged the barriers that ¢ art world and architecture is Maya Lin, Now thirty-six years old, she was only Twenty-one, an architectural student Yale, when she submitted the winning design for the Vietnam Veterans Memorial in Washington. This V-shaped wedge of black granite is cut into the earth of the Mall, not far from the Washington Monument. On it, in the order of their death, are inscribed the names of the $7,000 ‘Americans who lost their lives in Vietnam. The London daily The Independent eatled ya Lin's work “the great lessly fighting fer a political concept ~ the domino theory = that ex # paranoid, vote-conscious palitci have coursed the h der to indulge the whim o the min rt of darknes: f thei 5, YOU feel instinetively why $6 many monuments mean nothing to most twace out the incited names comrades, beat Lin's walls wit eryhot ordinary people. Inwas after designing this seminal monument, vi jed by more than 2.5 million people each year, that Maya Lin wont to graduate schoo! ta become an architect There she encountered one professor who was to have a considerable influence on her. “Frank 0. Gehry was very supportive when I was in graduate school,” she sa “Frank was a teacher, and when I told him that instead of drawing up a design | wanted to collaborate with a sculptor and build something, he said, ‘Greto the firm, “The architectural conce the terms collaboration, dynamical cystems and str formative processes.” The idea of inclu owth™ theme given t made of plywood fas Iptural re alls in a similar fashion on a variet rs Monument (1987-90), located in Joshua T omes as close to sculptures functional architecture a Monument is a desert area located three hours by car outside o les. This small (90 m"}he the use of the architect and five friends, is located fu helike structu high living wurple-blu “entail tch J sleeping h painted s, expo! at f d accites Rudolph Schindl camp" a5 an inspiration for this structure. Occasionalty, a cl king relationshi ings new light tothe differences and simi Meier and Frank Stella have known each other ant 1950s. cent years, Stella hasex in the case of the pavilian of t Groninger Museum, which was built by Coop Himmelblay, Then too, tu triptyeh, 1: 240% 299 em; 2: 340 x 630.¢m 199 eng ged in the opposite form of explor: Ipture, which bears more than apa: ng resemblance toth 4, 38x 67 x71 cm, sculpture). When aske f he feels that theret | Poe q oeCubs, in January 1995 gave rise to his Havana Project, which is a proposal for 9 Jynamic reassessment of the architectural needs of this city. The drawings of Woods, together with proposals on the same theme by Coop Himmelbiau, 2 Hadid, Steven Holl, Thom Mayne, Eric Owen Moss, and Carme Pinds, were conceived for an exhibition whose theme would be the movement toward “archi tecture that comprises complexity, sensitivity, and dynamics; architecture that f the human being and wi nds cammercial definitions; architecture ith new tasks as well as the old traditional anes - an everyday architec: yet contains the claim of universality and topicality - architecture as. a.uni versal and unifying metaphor of space, time and body.” Although the participants in thit conference were all architects, they are also architects who tend toward an ic vision of their work. The movement of art and architecture toward each both inevitable and fruitful. “Hocloomoslen 1.2.3" Tiiptych, 1: 3402990. 2340 690.cm;3: 240% 254 em, v8 Coop Himmetbiau,It pai ffoldi dow. “From my window,” h an to the gleaming new f made fShapes for the Future Concentrating on Europe, the United States and Japan, this survey has attempted. ‘to demonstrate that a number of factors have given rise to new forms in architec: ‘ture in the past ten years. Naturally, the factors that influence architecture, from ‘the economy to the spreading use of computer-aided design, are numerous, Some ‘of these factors, such as the computer, are so powerful that they will continue to transform the shapes and function of architecture at an accelerating pace in the years to come. As John Frazer has written, “A new architecture is being conceived in cyberspace by the global cooperation of a world community evolving new ideas ‘by modeling ecologically responsible environments and using the computer at an evolutionary accelerator. This movement is reinforced culturally by similar thinking in music and other art forms. The emphasis has moved from product to process as Buckminster Fuller, John Cage and Marshall McLuhan all foresaw; and it has moved from formsto the relationship between formsand their users. This paradigm shifewill change our understanding and interpretation of pastarchitectureas surely asitwill change the way we conceive of the new," It has already been suggested here that the relationship between art and architecture has become closer, and that art has been a source for certain architectural explorations, Most often the Published histories of architecture concentrate on the direct, formal and esthetic ‘criteria that influence the built form, but recent trends cuggest that a more holistic approach, taking into account such apparently “peripheral” influances as art and ‘the evolution of economic concerns, might permit a better understanding of the ‘contemporary situation. Below, a certain number of built works are highlighted. ‘Some have already been mentioned in this volume, others have not. In principle, ‘each places emphasis on different trends that influence architecture, from the varying approaches to tradition to ecological concerns and formal, artistic ones. The liberty of expression given to architecture in part by computers, but also by the evolving attitudes toward the built form, and new sources of inspiration such as contemporary art, is the subject of this chapter. Japanese Masters of Light and Space The Osaka architect Tadao Ando has had a considerable influence on schools of ar- chitecture throughout the world. His rigorous approach and his development of a Modernist vocabularyin the context of Japanese tradition certainly make him afig- ture tobe reckoned with for the years to come. Whatiis not always fully appreciated is the almost sensual quality that he gives to his concrete structures, Concrete gen ‘erally does not photograph well, and the play of light across its surfaces can only really be felt by visiting Ando’s buildings in Japan. That said, his recent Meditation ‘Space at the UNESCO headquarters in Paris can give some idea of his accomplish ments to Westerners, Squeezed into a very difficult site behind Pier Luigi Nervi's Assembly Hall and next to Marcel Brever'sheadquarters building, Ando’s structure 86.5 mhigh cylinder made of concrete, with an area of only 33 m’. Its floor, ike the entrance area of Kisho Kurokawa’s Hiroshima Museum of Modern Art, is paved Oumoox 181« with granite irradiated by the: 1945 bomb. Although not his best work, this on Space does show that geometric rigeris not antithetical witha non denominational spirituality, an interesting message in times of trouble. -e art has become difficult and expensive to collect, many municipalities re in Japan have tured to alternative idea: the case of th Museum of Fruit, situated in the Park of Fr the Fuef inthe Yamanashi rding to tl 0 Has ing characterist uctures with Mount Fuji. These shelters include a tropical space and a building whieh acts as a workshop for the teaching of hab: es of the Museum o! nputer generated. As Has e ed through three-dimer acre n acomputer. Each shape was created through the rotation of simple tocomplex volumes... The capability touse such complex forms wa He only with CAD.” With his Yatsushiro Mu useum, and other more recent uctures, Toyo d a place for himself as ane of the forem "Wh st practitioners of what Rem “Ito effortlessly ppears, while still stimu: about the great similarities he sees betwoer cities, particularly in Js chips,” he says, y ev ips and the ev a “garden of microchips. “Mi at are different fr g patter mthoseof me anical objects. These im: 2 space in which invisible things flow. One might describe that hich div enamenal forms emergeas ther “Tadao Ando Meditation Space, UNESCO Paris, France, 1994-95 area of only 33 mi located on & 350 m site squeezed betweenws. What is important here is not se much the expressed formsas theimage of Pages 184/18S pac he expression of those forms possible. ” Insuko Maregawa. Wi like his Tokyo Metropolitan Gymnasium, or Tepia, Fumihiko Maki Mint =, Yomanashi-shi, Yamanashi, Japan, has indeed placed himself ina different realm than a younger architect like Toyo Ito. in Maki he “electronic an there is an effort tolook deeper intothe bui explanations of his own work, there is less reference he forms that itelicits, environment. He writes: "We may need to commit ourselves once more to seeing tM nings from the perspective of space. Up to now, our view, our standards, and our bailing and process of design with respect to architecture have depended on our area of looking at (it) from the outside. To look at architecture from the inside naturally seeal weans concerning ourselves first of all with the extent of the primaryspaces that are ee rad. tt is only when we look at architecture from the inside as well as from the hich 2c utside that we understand how (it) frames and shapes the landscape in addition to ara ding silhouetted against the landscape.“ a9rc ke an ald radical professor, Kazua Shinahara, author of the Tokyo Institute of the ert nial H presides over this debate, relating the strengths of nto a broad-minded accept: of chaos theory and other mani festations of the altogether modern world in which contemporary Japaneze mu ive. It it signifieant both of Shinohara’ analysis and of the Japane: works were apparently very traditional houses. A thoughtful a spirit th ication of st to the perceptions of the present by Shinohara and acertain ther Japanese architects place this country in the va at ntemporary design One of Shin Takamatsu’s mo: nquard af thought outstanding works is his 1985 Kirin Plaza, f the busiest pedestrian comers of Osaka, Manipulati aphors, Takam 9 his machine Wy creates an almos he outrageous glowing signs for crab res unreal point of silent stren wurants and cheap mov calls this SO m high t, which emits a gentle white light, 9 “monum: | of the immediate environment. Takamats mind alm and reflection are traditions of the Japanese spirit, which are ation ymodern appearance, this seemingly unnatural ealm bring: aside by rampant urbanization and commercialAmerican Dreams4 as natural zine, asphalt, plaster an often in unexp ombina Pages 190/19 ns. Festival Disne ain thing of the Californian charm of Frank O: =. ney, hry’s earlier projects, suchas his Edgemar Complex in Venice. Part of an es enter mer propects, such ws his Fay teria : : Basel, Switzerland, 191 a palette of different, tural complexity to this work. In many ways, Gehry is the earch for new architectural forms through an artistic appr 3 dasafi m emp though, Gehry’s essential source material is popular dustrial culture, with the apparent banality of asphalt or chain-link fence furniture manufac 9, Frank O. Gehry seems to feel that his time to build “great” work ponte: aece beeazects Angales is st lea rarity halt nand advat ted in the center of the cultural district formed by the Museo de Bellas Artes, faces of the entra hat come. Unfortunately, his Disney Concert Hall in tom His Bilbao Museum in Spain ison the: nga the University de Deusto, and the Opera House, on a 32,700 m? site formerly occu a factory t, the new Bilbao Mu: eduled to open i nay sation @ summe firms participated in a om n, Gehry ma! and Coop Himmeitalau, and the groundbreaking took place an Qctaber have 10,500 m? of golle 00 m? of public space, with ‘ m, an auditorium, 3 museu are it, and a café, Project m? building is estimated at $100 million, A sculptural metalli " t of 3 “metallic flower,” designed with the as eof the CATIA ree.dimensional aerospace computer modeling program, unifies the project into n tural composition. Building materials are titanium, limestone, andEdgemar Compl Venice, California, 1985-07 glass. The museum's | pa free ural columns and measur " i eights will be 6 mor mare, which, together with 4 Frank ©, Gebry ve avery generous fealing of space to the whole Fertival Day Perhaps less oriented to the sophisticated manipulation of eanstrucs Marne-laValiée, France, 1990-92 = Gehry, the New York archi trated . asions that the exploration of ligh fic ween 6th and 1@ Tokyo exchange he Steven Hell's design, which American Institute of Ar According to Holl’s descript n, “The plaster was carved and notched at preciDE. Shaw and Company Office New York, New York, 1981-92 sted in eid. tin New space at the entry. Color was applied to the backsides of surfaces, invisible to the Poge 195 viewer within the space. Natural and artificial lights project this calor back into the Prilip lohaaon e around walls and fissures. As the phenomenon greatly reduces the intensity Gatehouse fF the calor being reflec New Canaan, Connecticut, 1998 a range of flueescent colors could be utilized on the é s, creating 8 mysterious eslm glow.” Completed within a $500,000 say Pilih budg ‘oject was intended as part of an ongoing expansion lip Johnson has been a central figure of contemporary American architecture fim and wait their turn forthe more than six decades, beginning with his contribution to the 1932 book The wt jonal Styfe, written with Henry-Russell Hitchcock. Just prior to his ninetieth birthday in 1995, Johnson built a new visitors pavilion on his 20 ha, New Canaan, Connecticut estate, which includes his famous 1949 Glass House. He calls this build: ing “the Monster,” andas The New York Times cr eated a bending, ripy ne ertate) vo begin. ic Herbert Muschamphasit, he h made more ike apiece of ing, twisting structure with an interior that puts compu ture.” Mace with prefabricats d morphs to hame."®° Made of concrete sprayed on a flexible metal frame, panels of structural wire meth pointed in red and black serylie, and is almost windowless. As surely as any dis around an surse of Petar Eisenman, this building represents a shift in arehitecture away from a the geometrically defined spaces of the very Intemational Style that Johnson S iederaeak helped to launch. As Herbert Muschamp points out, appropriate historical refer . ences here might be to post-World War | German Expression architecture, as in\ } \ Seer ese) Ri Wines ae La (yey A / A 4 \ if WV i \ f \ & { “ yefare, her se a viable presence that wi California has bred man ome dern Art.”histicated attitude towards Modernism coming out of SCI-Arc, the avant f architecture that Thom Mar ,artner Michael Rotondi took over riety of the Intemational Style, the Post-Madernists of SCI-A\ a ‘tersweet attitude toward technology. They knew it brought pollution, knew ‘at progress in one place was paid for by regress in another, but nevertheless still wed industrial culture enough to remain the Mi impulse of smatizing technology.” is cerebral approach, Morphosis principal Thom yne defines hi 1s the Kate Mantilini Restaurant, by making reference to film, ys im J “Today, buildin t intellectual va museh made the fi Stranger than Paradise 9s are as ephemeral as film has been published. The bu ¥ f my work is wi 9s are gone inten years. are not that permanent anymore. There has got to be room in architecture the Jim Jarmusches, not just the Spielbergs. jects by Eric Owen Moss, his Ince Theater, in Culver City, and Samitaur Erie Owen Moss ions from ex rehouse space, the Ince Theater fu al innovation that her 5 proved himself to be bilities of nthe Lawson-Westen Hous (Brentwood, 1989-93). The apparentcom 3 4 ruc en incom rawings resolves itself into an unusual * solution to the age-old problems of the ign. According to the 9 : iginal plans, a pedestrian bridge would link the theater to the as yet ut Y once toe beige t 2 street. The presence of Sony would make the id ; therwise rather forlorn section of Los Angeles more viable ould make it possible to climb ont is Eric Owen Moss has said, “Ifa building itself c ome: rf include oppos a5, then it might be more durable, e Movemer¢ of Josh Schweit: at Joshua Tree mentioned above is another reminder that California tinues ta playa role ina redefinition of the relationship between art and archi ture. Indeed, the Southwestern United States, because of its largely favorable imate and because of the rapid growth of certain cities, has proven tobe the area in a very different style, the sculptural appear Cali mwhich some of the most innovative new architecture has come in recent years. 1 bit out of the architectural mainstream, Bart Prince, based in New created numerous private residences, some of which were clearly in. ed by his mentor Bruce Goff. The Mead/Penhall Residence, in Albuquerque, New Mexico, however, represents an original solution ta the economic problems so ten posed to contemporary architects. Designed with a very low construction budget and simple materials such as exposed, sandblasted concrete block for walls around the carport, wood framing finished either with stucco and sheetrock or gal: vanized metalon the exterior and rough-sawn cedar plywood panels on the interior at is only 20x41 min 1¢, Houses on nearby lo and two-story contractor. designed frame/stucco structures, with a carportin front cach one. The design here was complated with the idea of providing space for a iection ef photographs, paintings and nineteenth century furniture. There is 3 intinuous curving ceiling made with exposed joists and metal. A series of covered ered decks onthe roof level emphasizes the distant mountain views tothe north and east. Itis particularly interesting to see Bart Prince's efficient and visually spectacular approach toa low-budget project. An area that this volume has not delved into in detail is that of ecologically iented or “green” architecture, Often setting aside esthetic reasoning toreduce insumption or to use non-polluting materials, significant and growing trend both in the United States and in Europe. One of the early proponents of an ecologically sensitive approach to architecture, James green architecture is aTrawestinyd Nucleas Power 198 Wines, principal of the New York firm SITE (Sculpture in the Environm asked by a BBC-sponsored television producer in the fall othe three other architects, to develop a pro the decommissioning of power station in North Wales. Trawsfynydd (pronounced Traus. major nuclear power plant in Great Britain to be decommis t itis ated that more than 400 plants worldwide will go out of service within th twenty years. The owner of the plant, British Nuclear process called “Early Reduced He Of SITE, James Wines dangerous radi nsidered ¢ which nounts to:simply € to be reme when it i to dismantle itich Nuclear Electric b vide for 3." decommissioning using r + (rom remove the core materials). They also sive greening of the en area, lake shore, and nuclear electric buildings using moss, rag weed and ivy means of removal of toxins from soil and water through the biochemical react certain natural vegetation to radioactive materials.” Finally, tion on a nearby hillside of a communicatior ms of decommissioning and alternative energy sources. bination of a Celtic ros layered mounds of a Neo! this center, like many of SITE’s p covered wi Y extent that it would “become increasingly phic in its p and less and less visible within its natural context.” Another group invalved hypothetical design project, Arup A tes, suggested burying the plant i from nearby slate mines. On these mounds, Arups proposed to plant grass, m and rings of trees. Because of the capacity af stat ation this solution does no burial mounds of the earliest phases of Western ci to absorb or insulate from appropriate, and it too harkens back to1 interesting to note that despite the very different location, and the funda. apocalyptic nature of the problem to be solved, architects have devised mes for North Wales that in a way call on the very distant, in this case Neolithic past, Built by Sir Basil Spence in 1959, the Trawsfynydd complex was then viewed as an impressive monument to.a new era.of progress and plenty. Its ironic and sig- nificant that 35 years later this “Grave New World” becomes, an the contrary, a menacing symbol of the dangers of industrial growth, Herbert Muschamp, in The imes, put it this way: “Today, after decades of increasing public aware- of ecological issues, a visitor is more likel mei to see the twenty-story plant as a nonétrous intruder in an Arcadian setting. Nuclear power, s0 the reasoning went, 6 innermost mysteries of nature. Why couldn't it coexist harmo- niously with forests andlakos? Today, this kind of thinking is recognized at an integ. rai part of cold war propaganda.“ tt would seem highly unlikely that British Nuclear Electric, oF indeed other such similar companies elsewhere in the world, would call on qualified outside architects, let alone ecologically oriented groups ch as SITE, for assistance in decommissioning, Most electrical companies prefer ;agive the impression that there really is no problem. As the Londonnewspaper The independent has written, however: “By 2010, more than 50,000 megawatts of cur- ‘ent nuclear plant (the equivalent of 86 Trawsfynydds) will be made redundant in Each power station will cost something like £600 millionto “decommission” and about 135 years to lose its lethal potency. *phyto-remediation* proposed by SITE could really significantly alter the normal rate of absorption of radioactive elements. This ig a matter more for scientists than for architects. It is certain, however, that blind faith in technological progress has led to extremely dangerous situations, and away from the earthbound wisdom of evious centuries, Iv is difficult to judge whether the ime Trawestynydd Nuclear Power Station Decommissioning North Wales, Great Britain, 1998 (orojecx) ‘Along with the actual decommis: toning ofthe power plan SITE proposed the construction na Energy Communi ations Center, whose ecologicai pres by cavtoin layered Neolithic burial ‘mounds known in the region right). Though probably not a poted by old nuclear power plants, this project does drawThe European Crucible Norman Foster's 1995 project for the SECC Conference Center, in Glasgow, designed with the assistance of the engineers Ove Arup & Partners, isa stunning cxample of the type of new form being propased by European architects. This is a £30 million 3,000 seat facility intended to complement the existing Scottish Exhibition and Conference Center. itis located on the banks of the river Clyde, on what was once Queen's Dock, which inspired its form “reminiscent of a series of ships’ hulls.” The hull or steel shell image seen here may bring to mind Jorn Utzon’s Sydney Opera House, but there is a more regular and less overtly expressive rhythm inthe Glasgow project. As the architect says, “The building’s form is derived from the ideal relationship of the internal planning which wraps accommodation in a series of layers around the auditorium... The slots between the shells allow day- light to flood into the Foyer spaces around the auditorium, they also allow views back towards Glasgow along the river Clyde.” Presented in the kind of CAD view that architects and clients favor more and more frequently, Foster's Glasgow pro- ject is significant of current efforts to create forward-looking architecture that rotains a deep connection to its site and loeal history. Erick van Egeraat, former principal of the Duteh firm Mecanoo, recently com. pleted the renovation of a building for the Nationale Nederlanden and ING Bank in Budapest. Hungary. Van Egeraat carefully restored this white 1882 Italianate build. ing located on Andrassy ut - the local equivalent of the Champs-Elysées. From street level,.it seems that hardly anything has changed, but the two top floors added by the architect are dominated by the “whale,” an organic blob that bursts through the glass roof onto the skyline of Buda pest. Containing the boardroom, this extrusion is the focus of the project. It appears to float on a plane of glass, whi also functions as the roof. Its organic forms contrast with the exposed litt machin- ery. All the more significant in Budapest because the city has undergone a period of fifty years in which architectural innovation was all but excluded, this unusual com- bination of latenineteenth and late twentieth century architecture is the fruit of the collaboration between the huge Internationale Nederlanden Groep NV (ING) rep- resented by the Czech born Paul Koch now living in Holland and the architects. ING isthe group that bought Barings Bank after its financial fiascoes in March 1995. itis one of Europe's largest banking and insurance companies, with a 1994 net profit of $1.49 billion. An admirer of Jean Nouvel, Frank ©. Gehry and Van Egeraat, ING's representative Paul Kach has commissioned them td work in Prague. Gehry’s much publicized Rasin building in Prague, called “Fred and Ginger” or the “Dancing Building” and attacked by Prince Charles, is the result of work carried out by ING, again represented by Kach, the Prague-based Sarajevo born architect Viadimir Milunic and Gehry himself. Like Gehry’s Bilbao Museum, this design was made with the Dassault program CATIA, and another 3D computer modeling program called Pro/ENGINEER. Together with the CATIA models, Gehry “provided an AutoCAD 30 translation to local Czech architects for precesting operations and field erection,” further proof of the advances made in computer technology in facilitating innov- ative design. Clearly, in order for innovative architects to be given a chance to make the shape of the built environment evolve, it is necessary for them to have clients who are willing to take risks. This condition hss unfortunately been met far {00 rarely at a time of rising economic and political conservatism. The Budapest Nationale Nederlanden andING building deals with the problems of the renovation of an historic structure in an unusual way, and itis interesting to note that the ‘American magazine Architecture wrote inits November 1995 editorial that “One has only to fook at the glass mansard and cocoon designed by the Dutch architect... atop an Italianate block in Budapest to understand haw experimental design ener- gizes old buildings through contrast. It is difficult to imagine preservationists in this country sanctioning such juxtapositions," jo Ovnoox Page 209 ‘Sirorman Foster ‘SECC Conternce Center ‘Closgow, Seotland, 1995 (project) ‘This computer generated image ‘ofa future facility tobe tocated fonthe banks ofthe river Oye semonstrates the increasing impact on architecture not only OF CAD, but aloof computer imagery asa method ta explain toclients and to the public what snunbuilt eeueture witllook ike kits fra form. This type of image may well encourage greater ublicinterest in architecture in its planning phases.Although less postic than his Unazuki Meditation Space, the Takaoka Station in Japan, by the Barcelona architect Enric Miralles, contains very similar sculptural elements. Moving beyo: modern architecture since the early part of the century, this project seeks to integ rate an exuberant manipulation of steel forme with the entrance to a railroad sta tion. Indeed. the point made by Miralles and others about the new.found freedom of architecture to explore the range of possibilities offered by the world of art that architecture should embody the notion of “art for art’s sake.” Rather what is sought here is a renewal of the vocabulary of the built environment, an enrichment ays ta make the experience of enteringand using a building more enlightening and fulfilling, After the long period in which functionality ruled # search for new forms must be hailed as a true the applied decoration that has been anathema to not that can only seek ou above any other consideration, liberation of architecture Christian de Portzampare’s Palais des Congrits project in Paris, already men: tioned above, brings to the fore the problems pored by the reuse or expansion of ‘modem buildings. Whereas, prior to the twentieth century, large urban structures were often designed as though they were to last forever, ecenomie considerations and evolving attitudes toward architecture imposed the construction of an enorm: ‘ous number of buildings that clearly were not meant ta withstand the force of time. Less sensitive esthetically than the question of older buildings whose facades arenow often carefully re red in Western countries, that of modem buildings that lived their initial usefulness will increasingly be posed to architects. ampare’s Bandai Tower, an entirely new building to be located in Tokyo, is an unusual effort to use a system of variable colared lighting to “sculpt” the facade at night. This is a 7,000 m? complex including offices for the toy company, apa 1ents, a restaurant and flexible events spaces. As Jean-Pierre Le Dantec, author of arecent monograph on Portzamparc has written abour the Bandai project, “This is art, It isan artaf light and space as itis co ved of by such demanding creators as + Irwin, James Turrell or Robert Wilson. Officially inaugurated on June 29, 1995, the European Court of Human Rights in Strasbourg, France, by English architect Sie Riehsed Rogers, is an outgrowth of the Eur jon on Human Rights, signed in Rome on November 4, 1950, and sppliad ines 1953. Through twe branches, the Commission andthe Courtof Human Rights, this organization is in principle at the disposition of those persons who feel hat their guaranteed human rights have been violated. Based in a 3,800 m* build: ing in Strasbourg since 1962, the Court was granted a 2 ha plot of land, and asked build a new 20,000 m? building by a resolution of the European Council of ters.on April 26, 19867The initially planned date for the inauguration, May §, 1989, was not maintained, partially because the proposed architectural plans were found lacking. The organized 3 in, and Sir Richard Rogers was chosen on September 19, 1989. Rogers pean Convent Strasbourg, which granted the land, th competitio Enric Miraties Tekaoks Station Toksoks, Japan, 1993-95Pages 216/207 Ads Rosi Hotel Palazzo Foleuoks, Japan, 1968-09 The result of afrutfuleolabora ton between this Milanese titect and design ‘the ate Shiro Kurnmata, the uch as sed comparative larucy in the bustling, chaotic environment of the commercial center of Fuko Ins blank fseade may have more todawith Roman tombs than with Japanese temples, bu curiously an architectural emaron ment where anything goes, tht block of marble and copper does not seem snincongruous it might objectives. Our bottom line’ economies ensure that there is no incentive to invest inecolagical technologies that only pay off in the long run. After acentury of refinement, the steel or concrete bui cheap to build, nor built so cheaply. While buildings of all types are being packaged and standardized, architects are being selected on the basis of lowest fees rather than the quality of their work. Designing greater flexibility into our madern buildings inevitably moves architec: tureaway from fixed and perfect forms. But whena society needs buildings that are capable of responding to changing requirements, | believe we must search for new forms that express the power of change. Restoring old buildings to their supposed oF would argue, » spurious notion. Buildings have always been adapted, reshaped, redecorated, 1 plumbed and elit. But this living process grinds to ahalt in the face of over-realous preservation. Today, we are latting our architectural heritage choke our future, Making museums of our ities ossifies society. Rather than rely on high-energy consumption, architects are now beginning to explore building forms and technologies that hamess natural resaurces = land. scape, wind, sun, earth and water. Computer technology is one of the breakthroughs in the design of low-energy buildings. Programs now available can generate models that predictair movement, tight levelsand heat gain while the buildings are still on the drawing board. This sig nificantly increases our ability to refine each aspect of the design of a building, £0 25 to maximize the use of its natural environment. And it is computers that are giving buildings increasingly sensitive electronic nervous systems, able to register internal and external conditions and respond to individual needs. New materials ing has never been so 6 Ouncesare capable of changing from high insulation to low, from opaque at can react organically to the environment, respond to the daily en- through the seasons. The future is ransparent vironmental cycle and transform themselve ecture is only just beginning." ne Milanese architect Aldo Rossi, born in 1931, and known for his rather radical political views and for 2 certain Post-Modern taste, built two notable structures in ears. His Maastricht Museum is a large exhibition hall located in a former area on the banks of the Maas River. Its central, metallic element has been compared in form by critics to a coffee pot, but the essential inspiration of this tructure comes from the early twentieth century industrial architecture of the area, which has been for the most part razed. His Palazzo Hotel, lacated in Fukuoka nere, but its impact on arch ent matter. Here, amidst the typical vis aviranment, inthe Haruyoshiarea, he has erecte parent wind: fen kind ef calm, ienposinig pret. intended as the starting point for the renewal of a larger area, t tel is s Fascinating ate £ at collaborative design, Within Rossi's arch Hfredo Arribas h hiro Kuzuwa,yermanent than their designers intended. As cities expand and tight budgets preclude the construction of durable architecture in some locations, as the prob: loms of homeless people become unbearable, it would appear that buildings such as the Info Box might very s00n be called upon to do more than house exhibitions tt would be all the better if architects took the time to resolve the esthetic and practical problems of temporary structures ina way that might make them more livable than if they are conceived in amore mechanical or purely industrial way. The talented Portuguese architect Alvaro Siza, winner of the 1992 Pritzker Prize, was called on in 1997 to design a manufacturing hall for the Vitra complex in Weil am Rhein, Germany, already mentioned in this volume because of the projects built there by Frank O, Gehry, Zaha Hadid and Tadao Ando. Located next to Hadi’s fire station and across the road from buildings by Nicholas Grimshaw and Frank Q. Gohey, this factory facility faced unusual challenges of context. Indeed, there are very few places in the world where such a concentration of buildings built by name” architects exists. Siza's solution was to erect a reinforced concrete struc ture with a nearty blank red brick wall facing the street. At 11,600 m? this is the argest structure on the Vitra “campus,” although its very blankness calls attention {ess to its bulk than to the neighboring, more exuberant forms of Hadid. An 11 m high stee! bridge arches acrozs the road toward Grimshaw’s factory building, and ne view toward the fire station for entering visitors. Sueh fundamental modesty is undoubtedly rare amongst the architects cited in this volume, who do, itis true, have a natural tendency to call attention to themselves, One excellent European example of ecologically sensitive architecture must be cited here. The new Ulm University Engineering Sciences (Universitat Uim Elektrotechnik/Hochfrequenztechnik, 1990-91) buildings are located in a periph eral, almost rural setting. The architect Otto Steidle says that he “mistrusts all buildings which only have one possible function,” and in Uim his efforts have been 4 toward not creating “a world for specialists, but more an indicator of the Page OrtoSteidie Ulm University Ulm, Germany, 1990-91 ‘and the Oberer Eseliberg, this principles af logy and economicat construct substantial Daimlor-Bene Research ‘Center, Steide's lighthearted Darrian donot seem tobe on aquite the same wavelength, but ie may wellbe thatthe Europeans point of view it more in keeping than athe Amariesn’¢ weightyet | Oo » i aaa | ; oa eee ace ~links between and the closeness of art and science.” This theoretical input is of course interesting, but the final result is more than a little surprising, with its heavy reliance on inexpensive materials such as plywood (for budgetary reasons again), and its complex, colorful facades. The color scheme is visually based on a rhythmic diagram of Bach's Fugue in C minor, which does not prevent the whole from having 8 slightly priton-like appearance, perhaps due to the towers erected at the nodal points of the complex. Seeking, as he was asked to do by local officials, not to up. set the Obere Eselsberg site in its function as an important climatic factor for Ulm, Otto Steidle has created numerous passageways between the forest side and the ‘opposite direction, corresponding to Richard Meier's nearby Research Center for Daimter-Genz, The whole university complex is built with an environmental respect symbolized by a rainwater-gathering and distribution system. Together with the substantial use of wood in the upper sections, these design elements undoubtedly qualify the Ulm University as an ecologically sound structure, Perhaps more funda. sentally significant in architectural terms, the flexibility of the design, or in some sense its intellectual modesty in the positive sense of the term, signals 9 very different approach than that which might have been taken a few years ago, when strict Modernism, or worse, Post. Modernism ware in vogue. ‘A final project, the L’Oréal Factory at Aulnay-sous-Bois, France, by the architects Valode & Pistre, is in many ways symbolic of the search for new forms in architec ture. This 30,000 m? manufacturing and administrative complex is most notably marked by its enormous curved roof inspired by the image of a three-petaled flower floating above the ground. Made of an aluminum/polyethylene “sandwich,” the 222 Omnooeroof elements, measuring 60 x 130 m are suspended without columns by a tubut spaceframe superstructure designed by the late engineer Peter Rice. The apparent and real lightness of the roof structure made it possible to bring far more light into the factory areas than is usually the case. Because of new production techniques, dividing the usual assembly line process of this cosmetics manufacturer intosmaller units, the architects were able to propose this spectacular tripartite structure disposed around a central garden and artificial lake, rather than adhering to the more traditional rectilinear architecture of factories. The unusual curving complex. ityof the roof elements was made possible not only by computer-aided design but by a laser-guided checking system for the placoment of the 20,000 panels. Combining an innovative structural solution with a renewed concept of factory layout. this project concludes this survey as well as any other. The LOréal factory shows that technology, new materials and a willingness on the part of clients and architects to experiment have created the conditions for a true renevral of archi- tecture, In their project description, Valode & Pistre quote Alvar Aalto, who said, “Architecture has an unstated ideal, which is to recreate paradise, If we did not constantly bear this idea in mind, afl of our buildings would be simpler and more trivial, and life would become ....yes, it would almost no longer be worth living.” 224 Oynoor Pages 224/225 Valode & Pitre COntal Factory Aulnay sour Bois, France, 1988-51 “This factory for a cosmetics manufacturer located on the ‘eutskirts of Parsi s technical ‘our oe force, The 7,023alumioum and polyethylene composite panels that make up the root ‘are each attached at four points, three of which are adjustable in al three dimensions. Their installation required ne ess than 21,000 adjustments made onsiteNotes 1 Wigley, Mark, in: Daconserae: ‘om Archicectare, The Museum of Modern Art, New York 1968: 2 Wid 23 Cebay, Frank O., in: The Prieabor Acchtecture Price, 1982, Frank Owen Gebry, The Hyatt Foundation, Chieago 1990, 14 Chiradro, lane: Eisenman’ ‘Bogus Avant. Garde, Progrersive Avchiteceure, November 1994. '5 Eisenman, Peter, interview, “40 West 25th Stree, New York, May 16, 1996, 6 Pearce, Martin: Feom Urb 0 Bit, Architects in Cyberspace, ‘Architectural Design, London 1998. 2 Techumi, Bernard, in: Deconstructnst Architecture, The Museum of Modern Art, New York 1988, 8 Mayne, Thom, interview, Morphosis Architects, 2041 Coloesdo Avenue, Santa Monica, May 12,1994. 9 Moss, Eric Owen. interview, 8557 Higuera Street, Culver City, May 14,1984, 10 Erieoman, Peter, imecview, 40 Wout 25th Street, New York, May 15,1995. 17 Sslomsn, Maney: Computer. aided manufacturing, in: architec: te, November 1995. 12 Goldterger, Pauls The Skyscraper, Aled A Koop, New York 1981 13. Hara, Hiroshi: CA Architect 19, ADA. Eoita, Tokyo 1993. 236 Moms 14 Eivenman, Pete, in: Architec. ture Beyond Architecture, Creativity and Seca! Transformations in ‘nium Cutares. Edited by Cynthia Davidson, Academy Egitions, London 1988. 17 Fulesas, Massimiliana, interview, M.F. France, 26 bis rve Vieille du Temple, Part, ‘October 12,1955. 18 Kabshov, Nya: dnstalotions 1983-1995, Centre Georges Pompidou, Parts 1995. 19 Encic Milles, in: E1Croguit. 7201), Madrid 1995, 20 Perrault, Dominique, Interview, February 3, 1995. 21 Piley, Tery, in: Light Constrac- tion, The Museum of Modern Art, New York 1995, 22°The Independent, October 26, 1994. 21 Lin, Maya. interview, May 25,1995. 24 Maier, Richard, interview. Richard Meier & Partners, Los Angeles, May 16, 1954, 225 Frazer, john: The Archivectural Relevance of Cyberspace, in: ‘Architects in Cyberspace, Architoc: ‘ural Design, London 1995, 26 frwko Hasegawa, Architec- ‘ural Monographs, 1° 39, Academy Editions, London 1993. 27 Toyolto.JALibrary 2, Summer 1992, Shinkenchil-sha Co,,Aed., Tolve. 28 Fumio Kat, The Japan ‘Architect, 9°16, Winter 1994, ‘Shinkenchiu-sha Co.,Ltd, Tokyo. 29 Eisenman, Peter, interview. 4 West 25th Street, New York, ay 15, 1998. 30 Muschamp, Herbert: A mon: ‘wer of a masterpiece in Connect ‘et, ia: The New York Times, ‘September 17,1995. 31 Dietsch, Deborah: Philip's Folly, Arhieecture, Nowember 1995. 32 Jones, Wes: The mech in tecture, Ay, 10, January 1995. 133 Jencks, Chavles: Heteropoli, Les Angeles, The Riots and the Strange Beauty of Hetero- Architecture, 1993. 34 Mayne, Thom, interview, Santa Monica, May 12. 1994. 25 Dixon, Joba Morris Superstructure, Progrestive ‘Aechinectore, July 1995; 36 Muschamp, Herbert: Building ‘on the ruins of temples to nvctear power, The Mew York Times, ‘Apel 2.1995. 27 Claneey, Janathan: ideas ‘beyond the nuclear station, The independent, Apri 12, 1995, 38 Computerccontrotied curve: ture, Rasin Office Building, Prague, Coach Republic, Frank 0. GebryB Associates, Architecture, November 1995. 39 Dietsch, Deborah: Preser: ‘vation needs better architecture, Editorial, Architecture, November 1995. 40 Le Dantec, Jean-Pierre: (Qhristian de Portzamper, Editions ‘du Regard, Pais 1998 441. Rogers, Richard: The imper: fect ocmol the new, The Beith Lectures, The Independent, February 27, 199%,BIOGRAPHIES Tadao Ando Bernin Oran 1843, Tadao Ando wan swf educated an arte, say though trl inthe Unite States, Eorope and Alvicn (1962-3 We founded Tadao Ando Aveniect & ‘Arsociotes in Quah 1969: He hase inet Kar At Medal, nish ‘Anccimtionof Architect (1985): ect or, ranch hengemy of ‘Architect (8909); tha 1002 aravery Price; andthe 1995 Pristor ‘rian Haan uh at Yale (1987), (Cambs 1000) sna Harve (19008, Notable Bulg cud: oko Nong, Kobe (1983-5 ta Wate bai (0900: andra Suntory ese, Srat(1996) Covent projecainctce ‘sem housing for Kobe, ad ware com lex onthe ala of na Architecture Studio ‘rvated i 1972, Architecture Studio hast peinipale: Bodo Tinado, Marie Robain, Alain Bretagne, Bena Nan Arma, bee Trams (onsen Laurent Marc icher. Their fest major teasing wo the ate Monde Arabe (1981-87), designed wits Nouvel, Svs and Lasdabs Other gnarl inchede the Embry of France inhunci, Oman (190749: ae Lyte a Furr, every am France (1986 A7I: a ‘the Univesity Bestaurset. Dunkerave, France (1991-99). Cumrece work in- ‘ude the tra matonal edo, Pari. Feance (9988-14) wd sbowe {he European Partamentin Srasdoury. France 9984-97, Arquitectonica erro Fart racine borin ina, Peru 1951... Pincaton, 1972. M. ech, Harvard, 1975. Prmapal ot Argutetenes since fond Ingin 1977 akan rind ope Spear wan born in Rochester. MN 1956 ML Arch Cohen, 1975 Matar in Gy Paming, MLL, Pica of Aretecronca wither haa ce lestoundion Mar poect Spear ‘ove, Mam (1976-7, Tra Paes, aie (979 The i Mam (0990-12 Madr Hows Lima, ors (1900-85 taco oe Cato, Lima, Pon 989 4m Neth One eee Canter, Mia (184-7); Center or Innorative Techclony, Heron, VA Asymprate Ls Ae Couture was bom in Monta be 1950, She received her 8. Ach trom ‘Canton University, Canada, and M. ‘Arch ram Yale, Shia presets Design Cticin the Marea of Arcnnectur progam at Parton Shoot of Design Mew York Han ashe ceived hs M. Arch. degre iromehe ‘Cranbrook Acatemy of At, Boom ield ie A. Mais ore ect Asitane Protease att Calan Unierity Gaauate Scbaotot Archiver, Ham York. They rested ‘Asymptota in 1987. Projet inchs ‘ei 199 our lace entry forthe Avance Ubrary,acommusoned outing project for Brig, Sanaa, ‘nd ie participation nine 1979 compton foranart center in Tours, France (191), Mario Botta ‘er in 1942 in Mancino, Serta, Mario Botalefeschol atthe ae of ‘iveen to become an apprentices Lngono wechvectet office Me de ‘igned bait house he flowing yar Afteccompeting hi stadt Mian ana Venice, Dota wasted tie the entourage of Le Cornel Lou Kate and Ln Soe He bit mane oes prinate howe in Caderasro (1970.71, ia Sua Vat (1971-7, an Ligarner9 (1975-76) The adinsnqu in Vatewrbane (9n4.m ane Ctra Cantar (Shaméry (1982-07 fotlowed Curet propcts once th ry Cather (1908-1995 the Tame Cass h ‘he at fa Cuchi Stern, church in hago, anda taecomment ‘ations conten Betinnn Will Bruder orn in Matas, Wacomin 1946, Wo Ber Raw aA. dere tle {we from the University of Wisconsin. ibeaster, wo et ned at shite He appretiond vce Pace Soler sed Gunns Bites. Me ob- tained architecture cence a 1974 snd erated hi owe tdi the me year, Me studied ate Ameri ‘Acatemy in Rome fr sx mantha ORD. He has tno ae acared at ‘5Ckc. Yao, Tain Wet ad Grong Tech Carrs projets cede Teton County Libary, Inchon, WY: {del Aavertiing, ackzon, Temple Kot Am, Score AZ: Deer Vatleey Bac Art Canter; Pron, AZ: sn reicencenn Botton, Colorado, ‘gona, Canad sod at, th aremensaatia MaehattanSantiago Calatrava omnia Vaensaia 1951, Saetiago attrac eed art an oechienrare tne Eve Tenia Supaner de Angutecara Valeo (1969-74) and gener at ho ETH in arch oe trate i Technical Sesence, 1981). He pened own arcoegtere and enaineecig etic the same yer. Wi ‘bat wort ico Gallery aed Mavange Sqeae, ®CE Race, Tort (0987-9), the Hach de a Bede, facets (1985-87) the Tore Ge Mone. Barcelona 1988-92) the ont Piss 92, See td 1 Alario eg othe same cehton. Mamata finat athe com: extn the Becht Ban, snd ‘ars tou vseun of cence and Erick van Egeraat Berni 956m Amaro, chon yerat veed e eca Urey Beth Department ot ‘eee, rom which acute Sn Profesional price 1981, ofan of Manon chi tect net (198), Founder re contrat Anointed Artes {0995 Recent sd carat wo in ‘ees: taty bang of he Festa Popa an Arvonomy,Urveity ol Le (1980-96: Mature ad Sconce anew feted 1909-7, Pop ‘Ae teibon, aha Rotadan, 1995: Moz Seema Dresden (1296, eonade Ving eotoren ein Btn 198-6 Hatha Sean rcomtraon the “cote nteh pager mae, rong recht Centum let, astern 1195.96 SirNorman Foster ‘Born in Manche in 1835, Norman, enter studied atthe Uniersity ot Manchester ano Yale ia 1963. Atte working brie wit Buckminster Fle, be founded "Team A” with Sir Bicharé Roger, a0 crete Foster ‘Assocatein 1967 Krigheed in 1990, ‘Sr Morman Foster ho ntaby bates ‘Suinabary Cente at tUrwersty {East Anglia, Mormich (197H: he Renault Dtvibutian Cantar, bind (198: the Hoon Kong and Shanghai Berk tower in HongKong (1908 ant she terminal lorStansted Meport (1981-99, Carrent project include: The Semmerabanin Frankf, ‘tllet bung in Crop: Hong Mona's ‘ne spent; a Kings roe Station ‘Massimiliano Fuksas erm in Bore in 1944, Massimino, Fae received hit degree om the Faculty Architecture in ome in 1969, Geatedthe achiteceral tice “Cran” ith Anns Bara Sacco (1969-00. ving completed arg umber f prec in ay. he began 0 ‘known in rh aby and France at of ‘he late 19804 with profes nach ats new cemetery in Orvieto (19H) the tm hal ane bear of Casino (1990. nd in France, the Mein, eet (1901) andthe Ecole nationale ‘Sininiewr de Brest END, 1982), Mors resent competes: sructuring ola ty beck on the ve ‘Cando in Bai (1987-99). Come work sextet Lyte Tetsgue 9 Altre, the Place dex Nations in Geneet. 150° high tomer in Vena, sed. urge shopping center ia Satrorg. Frank 0. Gehry ‘Born in Toronto, Canad, 1929 Frank (0.Genry tediad atthe Univerty of ‘Seutnees California Lox Angee (1949-51), and at Hareard (1956-57) Principal et Frank ©. Gebeyand ‘Asaocines, Ie, Lot Angele, since 1962, be recone the 1988 Pte Prise Some ct hic notable projects are the Loyola Law School, Los Angeles. (1991-86), orton Residence, Vee. CA{YO82-04): Coors ‘Aerospace Maneui, 101 Angier (1982-94), Scrnabel Eenidence, ‘aad (1086-00): Fastval Dey, ‘Marne Yate France (1988-92) ‘Univerity of Tatedo Art Butesing, Teta, ON (1990-92; Amarcan ‘Center, Par, France (1988-93); henay Concat Mal Ln Anges (eaastruenion tamgararby Rate: and ‘he Gupgenboim Museum, Bub20, ‘Spain under coneruction ‘Nicholas Grimshaw ANDO grate ofthe Rechitectcal Assocation Netilad Comer wht ‘min 1839 in London, He created his ‘pesca im, Nino Coie nd ‘Patna (tin 1900, Wit mamerous ‘actoryractursincae thre but er eran ber in Bath (1976. [LAL W, at Bracknell (1980, the fr ture maker Vit at We aren, Carman (813. and forthe Fano Timer in Loon n 1968. Me 0 but evnes sociated wth te Santbury ‘Sepermaet Bevsepenantia Camden “Town (195), and the Brit Pion at ‘eile, Hiroshi Hara Bomin Kwara, lapanin 1936, irs ara ceed i BA rom the Univer Tokyo (19599, MA. bn 196 and hi Ph.D. trom the samen tution in 194. baton ing an ato a professor at the Uneersty Facey cof Arcinecure. Though is ft wort tes rom th erty 14D, he began a cltaboration with Atelier it 1970 Nonable ener nce mamerous rasta Routh, such a Mt BHP ence, Hara Howe, Machida, Tokyo (1973-74) He pariipaned inte 184 International Competition for tha Pare ‘Geta Vier, Pai; but the Yarata international Buiding (te bu, Tokyo) 1985-6; tha sa iy Museum. i, Nagano 190¢-aM; edie Soteee Caine Canter Yoko, Kanan (1988-90) Recent work incase the Umeda Shy ry, Kia ey, Osha (1900-07); anethe yoo 1 Station, Sakyo hu, Kyoto (1990-97)Itsuko Hasegawa ‘rato Hasegawa was born in Savas Pratecrure a 1941, Soe graduated tm ‘aoto Gakuin Univer ia Vokohsens (9 1964 after worting in the atte of iyo Kikutah (1964-69) sho we ‘esearch stunt he Dopannsat of Architecture of he Tokys ost of Technology She mes subseaventty an svstaet of Karu Shinohara inte ‘se school (1974-78 before canting Masks Naiagowe Atelier (1999 in Tokyo. Her bit work inchodet houses era (1986, mame (04), ad Wight [1987 le more cen year, se hs ult ona larger ale: Shonandai Guta Centr, Fai, ase (1887-86); ‘Oats act Pictur Book Museo, ies, oyna (2991-94), nd the ‘Sumida Cute Factory, Suma, Tokyo (0997-94) he was the runner upia the "I compatition forthe new Cart {ey Opera Howve. She hat ecrared at ane verity, a the Tokyo hatte of Techaohogy amin 1992 atthe Harare Graduate Schoo of Design. Herzog & de Meuron oque Herzog and Pere de Meare ‘tre both rnin ase in 1950, They received degrees in architecture tthe (ETWinZonchin 1975, after sacyng ‘wth Ale Ros and founded the fem Hertog bdo Mearon Archiectare ‘Studion Bastin 1978. The bait wot inches the Aotipoden Stent osaag ot the Univer de ewrgegre, Ogon (1991-92; tse Rica Earope Fctory ne Storage Baiting In ktineve (1997: ann gary for rivet sobection of contemperacy ‘etn Mich (1981-89) Mot notably ‘ey were choten ary 1095 05 Seog ne nen Tite Gatien extension fer contemporary at. tobe seuss {tbe Bnkaide Power Station, onthe ‘Thamar, opposite 5 Paws Cathedral Hodgetts + Fung The principal of Moegeets «Fung, ‘crmrtedin 1984, ae Gang Mogens (BA Oberlin College, M. Arch Yaa) ‘29 Hh og Fag OM. Aro UCLA) ‘Aide from the Towel Temporary brary at UCLA thee werk inca ‘the Chek 8 Fk Agency in Mothwood ‘meat at ER's Bad eynhaveen fac Iny.L-A Arts Pack inthe Seputveda Basin, Heme Fim Corporetion Office acy. LA sna tha Vis enisence (oth wood), They desired the eahiition “Biuepriats for Modern LUning” a tha MeCA Temperary Centemporary, and are crrenty work: Ing ona traveling mhititon ofthe ‘wort of Charen an ay Cama, seh ved toepen in Washington in 1997, Steven Holt Been in 1547 in Bremerton. Washington. 8. Arch, Unverty of Waanhington, 1570, a Bome sds the ‘Arctnsctusl Asscition in London (1970. Begon i careerinCstoenin nd opened hit own fice ia New Yor In VO7E Was aught at he Univer of Wannington,Sracune University, and, ince 1681 at Coimba Uivesty, Moxable bakings: Hyori Bung, ‘eonide,FL[1904-9 Boren AGE brary. Bert, Germany. competition ‘nur (1908): Vo SacerWinges Spece, Mowing, Memes Wor, Fabel, taps (1988-911: Seretro vere, Data, TX (1989-871: Matha owing. Chiba, tapan (1992-97) aod Maun Coatempsrary ht ‘tsk, Filan (1990-97 Arata leoxaki Bonin Oits Cy onthelaand of yas in 1993, Arata oral gr ed trom dhe Aechiectort Facey of ‘the University of Tryon 1954 snd ‘binned Arata oun Associate 1969, having worked inthe tice Kenzo Tange, Winner ofthe 1986 Boyt Araneta af Bat Artec Gold Madu he has been srr of major competition uth at tut hain 1908 forthe new Kenta! acematonat ‘root: Motable bags incl: ‘the Muteum of Modern At. Gunns (1971-74; Toot Corer ui, Task [197B-E3) the ueeum of Comemporary Art Loe Angas (1991-08; Art Tower Mito, Mit (1086-90) Team Dianey Buiding, Fria (1990-94); and B:con Para, Ota -953, Corre projects in ‘de Wigmi Shines Para Cultura ‘Comptes, Shenaka; and Ones enter of Elance and induwty (EO, Columbus, Ohio Franklin Israel Bormin 1945 Mew Yoo, Fran Inet en eveatea athe ivy of ‘Peansyvania, Yale and Columbia He recived theme Bis in Arontecture ( 1972,and worked with Giovanni Pasaneia in Mew Yor, and Liewety- Davie, Weeks, Fovestier Walker nd ‘Sorin London and Tehran before be coming at art director a Parent Petures (1970-70), eariipating in ‘fhm pojets in Las Angetes, China and ‘he Philppines a eestedtoa ow fem, FranatinD rae Digs ‘Asvociees in 1980 His completed po ctiniade ots tor fropapanas Fame in Hoty, and Virgin Bacar ‘elBevety ih. Contrmiog hs cone ‘connections tothe movie industry, he ‘nav ako deugned aMalibsDaueh Rove ‘or Robert Aman Franti nat dec 1996. Teyotto Bormin 141 a Saou, Koes Toya ecuated trom tba Univeruy a Tey 196 and worked inthe tice Niyonod Kitab uti 1960. Me ce {echt own office in TF, aseming ‘the mame of Toyo no Architect & Aasocstes in 1979 Hes completed ‘wor acide: the Sve Mut eid nce, Tokyo (1988) Tower ofthe Wh ohn, Kanara (188: ‘Yatwotieo Municiga Minn ‘Yate, mat 8 989-91) ak ‘ha EiertyPaopls Mame (192-44) land Fie Staton (1992-951, woth Nocaed inthe same city on tind OF yh Ma parted nthe ‘Shanahan Cees Aen feermatons Planneg and Urban ‘evi Comtltation in 1992, a ‘as bwt a Pvblc Kindergarten Feanlturt Echanhein, Cermey (1980-99 Philip Johnson Bom in evelnd, Oso (1906) Harvard, 8.4. (1990), Kava, Bch. (1943) Founder nd Owectar, Depart ment of Arurecioe, Maes ct ‘Mon At. New Yok (1992-34, 1545-54) Wrote The erie ‘She with Henry Brae Wtcreock (1932) 00 me sezsion of acinar soo Wc MoMA, 978 Pree Pre, Onpanined 1888 exhibition (Deconstrctit Architecture, at ont th rk Why: Works: Philp Johoson Howe, Cambridge, Maniachanett (194; Pip tenon Howe, Mer Canaan, Connetint (1940): Sangam Balding, New Yor (it Lug Mies van er Ra), (1958) Bxeon Pc Libary 22en (ith Artec Beign Crowe. (WPS Pennunt Pace, Howton 1576; ‘ATT Headquarter Bung, New Yor (197: PPC Bung esbargh, ennytvaia (981); 16M Tower, Aatanea, Georg (987; Cather ope, Oe, Texas 1956-2000 Broceanees 239Wes Jones ‘Wes ones, been 1959 in Santa onic, stonded the US My ‘Academy at Wet Pot the Univer ef abicrna a Berkley (BA, ad the arava Graduate Schoo of Devon (Arh Areipent of he Rome Pre ia Archtacare haan verve at ving Protenoe at Harvard Rice, Tune and Coma Users. Heed with Cannan mBoner, “artes New York before becoming Decor of Orsi at alt 8 Misha Sa Francine, pare in Charge of esgn at Heit ti tau Jona, he completed he Aaron Mame SARA “pace Center inlerida, andthe Sou ‘Camus Cite Pan for KCL ‘Rem Koothaas en tocthans wat tornin The Hague ‘9 1Bt4 etoee seudying a the ‘AructurlAsocition a London, etre ie hada fours forthe apie Post nw exes. ‘ie tounded te Otin for Metropotian Anchinectre i Lond a 1975 can wll own afta ths 197 pvdtcxtion tha book Dero ew et Habu work incaden: a group of apartments a Mena Word, Futuok (a9R1) ee Ya ate, See Cows (0985-51). ema nad hase ach tectot the Caralite projec Lite in 1900, an worted on evign or ‘he ne iow Unive iby ‘Par, He recent 1400-9090 book SAK M4 (Morac Prem, 1995) cromines to manta Neb ean afer weiter 270 Brocmanaes Fumihiko Maki Borin Tokyo in 828, Fumibiko Maki recered NAP. degree fromthe ninety of Tle in 9982, nd M.Ach degrees rom the Cook ‘Acacery of Ae (1933) and te Harvord Gracuate School of Design (195) worked fo Simone, Owing B Marit ner Yor (1954-5 ona ert Jnceton and Asocites in Cambridge, |W (1955-55 tore coating hi ow fhm, Mai and Anite, Tokyo 1968. Notable buildings: Famer Municipal mmm, Foire, Kanagee (1984; Spal Minato, Tokyo (985): Nationa! Maneam of ‘Medom An, Sakyo-tu Kyte (19861: ‘Meee, Oba, Oba (199): Tokyo Metropelitan Gymnas, SOWT9, ‘Tek (1990 sd Center fore Ats eros buena Gardens, San Franco, Richard Meier ‘Been in Newark, New Jersey in 1994, Richard Maier receive aot ‘ual uainiog at Correll Univer, and ‘werk inthe office of Mace Breer (1900.69) betoreestbtnning hs own ‘racccn in 1963. Pitcher rie. 1984; Royal Gold Medal, 1984. Horable Dulin: The Athenee, New Harmen IM (1975-79) Meum er the Davai Ait, sau, (Germany (1979-84): High Museum of ‘a stare, (3000-87; Cana Pos asegusrars, Pai, France (1008-91): ‘Gy Hal an Moray, The Hague, The ethertanas (1990-95); Barcatons Masson of Comtengariey Ar, arcana, Spain (1908-95) and Getty Caner, Low Angee, CA (1904-94). ‘Alessandro Mendini Bosnia Manin 1931, Alstanceo Marcin recetred ta octorate nar estectare frame Mian Pelytechie [Univrsityin 1959, Eto ofthe mapa ‘te Combet trom 1970 0 1926, ‘waramenber ofthe Achsoom and ‘Superitacio groups. and eator ot ‘Mods from 1977 09 1990, hereto de ead decorative arts andthe vale of tick. Eostor of Dom from 1900 1945, he crasted oe Damar Aeasemy 1 1982 Mandi collabora wit Studi Arya from 1979 0 1991, and increase dict of Aes ed Sach Aah Alsen Manin at worked on numerous architect [proper neh La Cae at Fics (000-00). be is best ht Figure ‘ofthe wort of design. Enric Miraltes ‘orn in Bacelons in 1945, ove ‘Mirateneceenc bs Saree rom the Escuela Thenica Superiore ‘Arginecurainthatcityia 197 He ‘worked with Heo Futon and Aer Viagtana (1974-849 before forming hie partnarshio with Carma Pods 1982 eh ected at Cohembia Univeraty In ew Yorks wt Harvard atthe Arcactral Auction n Landon Hi wor ncudes: the vec Cemetery Parton the ose of ‘Barcelona (1985-92) the Ohne echary Ranges arctan (1989-11: ‘he inna cnc canter, Barcelona (1987-02); the Morea Bomciog ‘Teno Castle (1986-24; ana he Hoesea Spor Hal 688-0) Morphosis Morphonr principal Thom Maye. en In Connecrice in 1944, received he Arch in Y9SBUSC) and ia M. Arch ere 3 Hand in 1978. He ented Morphoynin 1778 with Mich otond who ha since laf aust his own fm, Ra, He hn naught UCLA Marve ai Yale wd $C Aee thine wat Hound Board Member, aed in Santa Monica, CA, some of tha manbulding of Merphota ae the Lawrence Mout (1987) Kate Macs Restaura, eve it (186; Cor Sin (Camprebansioa Cancer Cre Center, ‘Bevery (1987: Las Angeien As ‘Pa, Prkorming Ares Pavion Lot Angaies, competition (198M: Cromford evidence, Montecito (1987-22) “Yorn Vintage Ca basen West otiycod, projec (1997; a wl at se mone recent Baes Reterce Coles, 1992.) na pect fr ‘tool in Calton La Jo Country Dey School Latta, Pomona Unie’ ‘Seraot Ouse, compaition, 19) Eric Owen Moss om n Lor Anges Calter, 1982, {irc Owen Mon recived ie BA. de: ‘949 fem UCLA 1965, ant Mi Ach in 1968. Ma oreceived Mi Ach. prea Haren i 1972 Nadie been Press of Design at ‘he Southern Calor natatute of Acacactre nce 1974. He opeeed mie in Cv Cini 197 We bat work incioder: the Central owning tfc, Unversity of ator tli, beng 86-09: nade “owes, Caves ory (1987-89; Paramount, Cane Cty (087-8): Cary Crp, Cat hy (1980-90), The Box, Culver iy (1990-9; ch IRS Bang, tr Cave Cy (1909-94).Jean Nouvel Bornia 1945inFumel, jean Nouvel was ‘omced tothe Ecole de Beaus Ans nBordeourin 1964. be 19706 cheated hie rat fice with Franco, ‘Senger Hn vt wide novices Project wes the atin du Monde ‘Arab in Piri (1901-22, with, ‘Aechrectue Sto). Other recent Project ichade fa Mem hot ing Nimes (1805 87) ates tor the ‘SAMIBBOD acrertising frm, yes Moulin (1998-2; en innit ‘Projets for ha 400m al “Tour ‘ra La tere, Para (190TI: and the Grand Stace forthe Hi Wd Cp, Para (1994) Current wor inet 3 ‘ore forthe Galeries Lafayette, Findrichetraee, Barkin and project or acuta comerin Locare Yeoh Ming Pei emia 1917 in Canton (now ‘Gaangebou, China, Pei came to the nite States ia 1935. 8. Arch MT (19 A, ren Maer (1942 Doctors, Marware (1946) Formed LM Pet Associates, 1955. AIA Gold Medal, 1979; Prieser Pre, 1983; Praemum imprite. pan 198, ‘Morale blogs: ational Cente for Aumoaphere Beveach, Boulder. CO (1961-671: Feder ation Agency Air ‘rte Contot Towers, ty batings, iow oetisas (1962-70 ke F kennedy rary, Boston. Mh (1908-79); Natons! Cattery ofA, act Bing, Wain, 0. (1968-78 Bonk of ina Tower, Hoo ong (1982-£9); Gran Lownre, Pare (1903-972; ane Boek and Rel Mal of Femt, Grvetund, Ot (1993-95) Carrot project inde amram or ‘Sh Shama Shona Bs Cesar Pelli erin 1926 in Fucus Argentina, ‘ced at Tacuman University, Op, ‘Arch (1949), Eeigrated tothe U5 (1952) and artended University of Wino M. Arc, (1954). Woe offic ot Garo Saarinen an Aarocate, ‘Bloomfield ils, Mi, and New Have, CT (vR4-64) project designer forthe TWA Terminal Canney Internationa! Aiport. Mew York and Via Beaumont ‘Theater at Uncoln Center, New Yor. 1964, joined OMIM, Low Anges, at recter(VOEL-E}. nan ie gaia of design (1966-68) From 1968 10 1977, Pe was partes charge of ‘Sa a Casa acing, Notable bulsingn completed Groen \nclusetha Pac Dasa Cant in on Amgen (1979) and US, een ln Tokyo, Japan (1826). Ae becoming Demmofthe Schoo ot rentectare at Yale in 1977, Pet opened te own t= fit, Gea Pal and Aah, New aves CT. Notable strates inciude fevdertattower and gaeryexponsion, Museamof Maer At IY (1977) Four Laat Towers, Houston, (9-89: Wer Financ Canter HY (0900-88); Canary Wart Tower, \oncon (1987-9; MTT Stab Weacavarers Building. Tok. japan (1990-95): ane Kua Lemper City Gente Pe 1, Matnysia (1982-96), Dominique Perrault Dominus Peru wt Bonin 1952 in “Chrmont Fea France Heveceored ‘i diploma as anarchist rom the Bes Aree UP Gin Pace in 1970. He ceed a further degree bnurbaciam atthe Ecole natonate ey Pores et ‘Crasehes Pain 1978, He created som im in 8 Par Buse mes sechdes the Engineering Schoot ESIEE) in Marne Valid (1984-07): he Woteindutil Jean Bagot ‘err, Pars {9FE-P0 the Hel \dbeaciemet dala Mave. Darl Duc, France (1980~34) 0 the Bios ‘tibque nations de Feonce, Pre (1989-96. Car ent wos inclades: ‘he Olympic Velodrome. ning ‘50d wing pool, Barn, Germany (1992-90 sas arg sete sey ‘of the wba of Bordenus (0992-2000, Renzo Piano: Bon in 1927 in Genes, Rents Pena ‘sutied atthe University of Floreoce ane at the Pot ech ntti ‘Min He formed his cem practice (Geaci Pian) in the 19, then 30: ‘omedsmnh Rand Rogers Pago & Reger 1971-78). They complete the Pomoc Cantar in avin in 1877. rom 1979 to 1980, Pano worbed with Peter bce (hana Bice Atociaten Ne created th Renae Pano Bung ‘Workahop in 1981 in Genoa and Part. Wao ncuder: the Mal Collection ‘Museum, Houston (1986) the San ‘Nota taba, Bari (1907-90) te oki entemion forthe BRCAM, Pari: and the emotion ofthe Lint omen, Trin. Garant wert inde the cent for tanak Cure, Nowe, ‘20d projec near the Potidomer iat net, Christian de Portramparc orn in Cabana in 944, Oia Ge Fotsamparestuhed atthe fle es Benue tsi Pas rom 1962 101000 rt eracts ince a water ow in Marna a Vale (1971-7, and ne HaveesFormes potichonton, Paris (1975-79) Memon the compet ‘on forthe Cité dela Mune onthe cousins of Pann 1984 compheiog the project 198. He wat ard the 1984 Pitber Prize He parents nme Caraue project ith tome (bl oer the rw Ue Earope ray ‘tation i Ui, aed but Ronin or ‘he Nenes Wor project Fok (989). Carent wort ines a0 ‘ction tothe Pla de Congr in Paring wer forthe Bandi vey compan Tokyo, nd acourthowe for Grasie athe south of Fence ‘Antoine Predock ‘orn in 1996in Lbanen Masoud ‘ated a the Univesity of Hew Mico ‘ed Cobombia University, Arh. 1962 ‘Antoine Predoct has beentbe prncgal ‘oth firming 1969. hat tayght ac UCLA an Cao State ‘obysctic Uriariy Notable bul lng Nelion Fine Are Centr risons ‘tate Uniarity Tempe, AZ (1986-09: ‘ber Howe, Phot, AZ (2906-29; ota Sant Fe, Danayana Pr, Maret Yale, France 1990-92, using, Calter Pelwechae \niverity, Pomona, CA 1993 ‘American Hrinage Carter, Lars, Wer (907-9: Ce Are Pa, Thovand Qos, CA (1080-4) 2d Ventana Vises amentary Schoo, ‘Tecwon,AZ(1992-96),‘Bart Prince lism Albuquerque, WM, a 47, 10 Ar, Ariana State Uneven 0970, Worked wth Bruce Gott rae 19410 1979, asd Nm inthe ‘Seu of the Prion for inanave At, [os Angeles County Men of Ar, Los Angeles, CA (1978-89), ond com bleed the bung after Go each ‘a 1962 Opeou hn own architectural ration 1972. Min balling: (tart rece Reucence and tudo, tmegerqet, MA (0982); doe rice escsace, Coan da May. CALI9O6: iad and We Prince Howse, Aneaerave, MM (19); Mion ence, Tes, MM NOBR: MeadPeal edence, Anewergue, HA (VIR) ana High eusance, Maadecina Cosy, CA m9, Sir Richard Rogers ors lorance aly of Binh par ‘et a 1993. Richard Bogen sre at the Architectural Atocition in Lonaon (1954-5, Ne recent is M. Ach, de: ‘ee fromthe Yale Unversity School of eciectrein ¥962, Crested partner: spe wth ht wile Su agers, Harman sd Way Festa (Foam London, 96464, and meh Renzo Paro ie London, Pcs and Geman (871-77) He ‘eats cand Roger Partnership in {engen (1977) Mets tag tae, ‘dhe oen Choma othe Tres of he Tate Gabry, London (1981-8, Men pesaonp ncede: the Centre Coons Pompidou, Pats with Benes ‘Rano, 1971-77; Lond of London, ns qusrtr (1978-26); hornet ¢ Ielewinon headquarter, London (0990-96; Dainier Bent ofice bud: (09, Pots Pats, Bern (1996-1: Barden Pala dates 1002-) 72 Brocaamees Aldo Rossi 340 Boas wat bor in Bon in 1931. aga suchen at Misa Poteer, 1949. Began wong win Ernesto Rogerson the architecture magatine (Cubes Corina 1956. Cracustes from bttan Pobytectnic, 195. Eartor oh Coebello Cetin, 1904, His YEE ood Aventure and te Cy icon sredanigrtican tudy of wan devign snd thinking. Appointed profesor Man Polytechnic 1965; professor at Federa Potytchaic of Zurich, Y972; Usiteiy of Veni, 1979. 1900 rite: Pie. Significant work Include Comatary of San Cataldo, Maca, Maly 1871-00: Teatro del Mondo, Yesice, aly Yenice Brenna (1900; Suan tcc Hosting Combien, es, Cary (981-08); Centr Torr Commercat ener Paros. shy (1BE5-BH: Palnz0 otal Fukuoka, Japan (1989: Modern Ar Museo, Vass, mourn, France (1988-90); and Office Tower. Mesico Gy Menico (1994, in progeny Michael Rotondi Born a 1949 os Arges, Michaet otonds received hit Arch from the “Southern Catania nett of Archinecture(SCH-Arc} i 1972. He worked with DAUM in Los Ange (1979-76), nc oataborated with Peter ‘de Breervite ane Crig Hodgetts from 19740 1976. He wae Dewctox ofthe ‘Grade Design Faulty at SCI-Arc from 1976101987. Founding pencil of Morphol wth Thom Mayne, ‘Micha otond! han been the Director (of SEI Arc snce 17 Hele Morphonin in 1991 and crested ‘Prevent fem, Reem 1982. Ongoing roject inch the HicolaBertnrant ‘ot Angeten: COLT 1,2, Cedar Lode ‘Terre, Strato arte in 190%; saedthe Qf Howse. recently Cexigned projectic Warehouse C, 2210 mong rerctre to be uit on lane i the har Naga, Japan. Schneider + Schumacher Ta Schowee, Born in 1959, sessed tna University of Kaneriaeen Aeceive ciptora trom the Technische Hochuenste, Durmerace Porgradeste ‘usin atthe Stattiche Hocmechute ‘ir Bidende Kunst, Siadehcrute, Fann iat cine of Beer Cook, Worked notices of Eee «Fis, Darmerat ane Robert Mar, avaniba, Crusted ha own alice in ‘anor with Michael Schumacher (190m. Machaet Schumacher own 1982, ao studied at University aiveriaster. Postgraduate stucen at nate, Sbdelachule, Fran, n the Clas of Peter Coot. Works inthe office of Norman Foster, London, an Braun 8 Setlachemann Fisch, before 1968. Most important bt ‘work office buling for. Welter Tompson. Frankfurt (1984-95). Mott lgortant caren job acinintratve Luling for KPC (Devise ‘Trechandpeietichat) in Leesa, scresuted forma 1997 completion Josh Schweitzer orm 1959 in Cincnnat, Obi, tot Scheiaer (BA. Pitzer Ciege, Claremont, CA: Mi, Arh, Univer of anas, 1980), worked for Spesce + Webster London, PBNA in Eanaas (iy, wd Frank 0. Gabry me Meica tere creating hi own prt nerchio, Smveier Kalin in 1988, 4 hs own office, Smiter BM, opened in 1687, Bess The Monumant, ni completed wort chee restaurants ch a Venue, Kanan Cy (1983, othe Eifora (hecten Cale, Lo Angels (1982) He recently comeleted ihe Bh ie Sports arin Fukuoka, lapan, and nae beque wort on 2480 a Water Park/Motet compleninrovinern depen. recently conaited he Movin sportewear store at South Com Para (Conta ntens,cA), SITE ames Wines, toning pera ot SITE (Selbtre i the Enon) smesborn in Cheng, I and sched art sca tory at Syrscut Undrry, (WA 1954, Bewean 1965 nd 1967 hs rma seviptr, He cremed SITE with ‘ison Sky and Michal Stone in 1878 Indeterminate Facade Showroom, Howton, TKN: Chost Paring Lot Hamden, TIS; Nighy 86, Wora Eponition, Vancovre, Beith Columba, Canada 18HE Four CCoetowets Bridge Hiroshima, Bacan (1900) Avoids §, Urner Eaton, Sevilla, sin (982: ed Bone Landing Para ad Par, Chartanoogs, ‘rain992), Alvaro Siza {orn in Matchen, Portugal, in 1929, ‘Aver Sian died atthe Univesity of Port Selo Archteetre (0900-55). Me cated his on practice (2 1964, and worked with Fananco ‘Teron fom 1955101958. han been 1 Proteyar of Contraction t he Univeityef Porto since 1978 Here: ceived the European Commons Mies vender tone Pisin 1908 and he ‘Prtrker Prigin 1982. Nabil targa santero ama acale projec in Pongal snd more recente hs ‘workacon tha actictning of the (Shade, Lisbon, Portugal (1989-1: sthehtetwralogy Cote Burclons, ‘Sou 1990.92):0n0 Vira Fortune Fescory, Wei am Eni, Germany (0991-94: the Oporto School Arch ‘tecture, Oporta Uneven (1986-951; 2d the Univesity of Aro rary, Ae Bortogl 988-95)Onto Steidle rm in Munich ia 1942, Ort State cing at th Akasa der Biderion AGdnae i that ity tom 1965 to 1969. In 96, he creed he fr Me» the enter Stramein Manich tare a hat Bt ices (1968-78): the rewrgmen Quarter, urenborg (1906-93); ana tne neniqertars of oanae+ Ine, Hamburg (1083-11) Work under contruction ncaden reveal and commarciaittoing, Langit nd the Penson Ford Bald ‘Shin Takamatsu ‘orn in Shimane Prefecture 1840, ‘Shin Takamacsa graduate from Kyoto ‘Unveriry 1977 a trom he Grade Scoot of the same ir {on in 1970. Alter wovkiag with yo Kama from 1971201975, ‘he created in own office in Kyoto in 17S He hav taught at Kyoto Technica Universiey an at tbe aka Univerity of Ars. roiting amply fram the bu ng boom of tha 1980, Takamatis completed warge enter of structures aching: Origin Had it amigye, Kyoto, 1980-86) the Kirn Plana, Cnc, (Senta (1985-87 and Syta,Sabyo, Kyoto 1940-S. ta hin more cent, ect mectanial tle, Takamates hat completed ene Kin Hewdgverer, Chaos Tokyo (1989-28): the Sof (Uecs Muaeum a Photon, isnimoto-ch, Texter (1999-95); ee the Negus rt Terma! Baden, ‘Motatuce cho, Nagas (1994-25) ‘Simon Ungers ‘om in 1957 in Cologne, Germary, ‘ermmigratedto the United Statexin “V979.8, dec, Comet 1979. Founding (porner of CZ (1981; Asean Protester of Architecture at Syrace ‘University, New Yor, 1981-86 ‘Hobs Residence, Lansing, MY, 1982; Masormble Maton, psn Opors Valode & Pistre (erin Vatce was torn 1946, an wa protesor of archinarure athe ool es Beau ts (UP and UPD} rom 1972 wo 1965. Sean Pre was ‘born ia 1951. Thy ft wort together in 187 socestabushes these office Valode Patra in 1900, Butt wor inched the renovation of the APC, Borden (1991; the installs on tthe Direction regal es Affe Ctarlies (Regional Clewral ‘Autrom ao eighteenth century ig. Lyon (1087-2), CFOT asdausran, Ps 006-60 Shall ‘Camar (1909-89}: Leonie da Ye University, Courbewne, France (1990-95): Ar france Headquarter, oiny Aint (1980-95). unis of France, hey hare worked on a planned Media Tower, Babeaberg, Poicien (19RD) and offices and shotel as far Pocadam (1909.BIBLIOGRAPHY “Rechitectsin Cyberspace”, “Archtecturl Design Profle 1118. Academy Grow, London, 1988. “Architecture of Transportation” Acchiocrural Design. Londen, 1994, Avchiecracen of Herzog de ‘Mearoo, eter Bium Ecition, New York, 1998. ‘ArhieteJabrbuch, 1992, 1993, 1994, Prenel, Munchen. 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