Design

Hand and Eye

During a recent lecture, Princeton architecture grad Richard Wilson Cameron talked about how he designed Ravenwood, an estate in Chester County, Pennsylvania belonging to the  film director, M. Night Shyamalan. What turned into a five-year project involved transforming a rather nondescript Federal Revival house of the 1930s into a lovely Lutyenesque complex of buildings. The high quality of the craftsmanship, both inside and out, is impressive, but equally impressive is Cameron’s working method. According to the website of his firm, Atelier & Co., “We work closely with clients and draw every concept of our projects by hand—from initial sketches and renderings to fully developed design drawings.

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Taken by Modernity

In 1971 I entered a competition for an addition to the British Houses of Parliament. My design blended Aalto with Le Corbusier—my two heroes. In hindsight, the large complicated project was far beyond my pay grade, but I was ambitious. Still, whatever in the world  made me decide to do all the area calculations for the complicated building on an abacus? Cheap pocket calculators did not become popular until the mid 1970s, but still! I didn’t win the competition, but I still have the abacus. I remember the pleasant clickety-click of the wooden beads. I’ve never had such a fond memory of a pocket calculator.

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Anything Goes

I’m starting to sympathize with Guy de Maupassant, who hated the Eiffel Tower so much that he is said to have regularly had dinner in its restaurant to avoid looking at it.  I’m not talking about the Eiffel Tower, of course, but the Orbit Tower, erected on the occasion of the London Olympics. Anish Kapoor and Cecil Balmond’s design surely represents the nadir of twenty-first century architecture, structurally feckless (at least to my eye), needlessly complicated, and downright ugly. It puts me in mind of the tower that appeared for the 1976 Montreal Olympics. Its ostensible function was to support the retractable stadium roof,

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Kitchen Confidential

Last fall we renovated our kitchen. It was a piecemeal project that started with long-needed repairs to a cracked wall and improvements to lighting, and finished with a total gutting of the space. The work was done by Jay Haon and his assistant Sarah Finestone. The design was a three-way collaboration between Jay, my wife Shirley, and myself. My only advantage in the process was not my years of professional training and experience but the simple fact that I was the only one who knew how to draw. The result brings together Jay’s craftsmanship, my architect’s eye, and Shirley’s desire that the kitchen should be a workplace rather than a showpiece.

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Learning to Design

In a filmed interview, Denise Scott Brown observed that learning to design was similar to learning how to ride a bicycle—you got on, fell off, got back on, and by the end of the day you were riding. The implication is that design—like bicycle riding—can be learned, but it cannot be taught. Allan Greenberg made much the same point to me in a recent conversation. If law was taught like architecture, he said, law students would spend all their time in moot court, but moot court actually plays a very small role in a legal education. Many accomplished architects did not attend an architecture school—Edwin Lutyens,

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Big Blue

The expected but still untimely passing of Steve Jobs has led to many observations about his national influence on design. But Apple was not the first American high-tech corporation to emphasize design. That distinction properly belongs to IBM. In 1956, Thomas J. Watson, the company’s founder, hired Eliot Noyes, an architect, to oversee IBM’s design initiatives. Thanks to Noyes, designers such as Charles Eames and Paul Rand (who was responsible for the IBM logo) came on board, and architects such as Marcel Breuer and Eero Saarinen were commissioned to design IBM buildings (Jobs commissioned Peter Bohlin to design the distinctive line of Apple stores as well as a headquarters for Pixar,

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Art Nouveau

The standard rap on Art Nouveau, as I remember from my student art history books, is that it was a short-lived (roughly 1890-1905) hiatus between the historic revival styles of the nineteenth century and the true-blue modernism of the Bauhaus. Art Nouveau was largely pooh-poohed,, written off as an aesthetic dead-end that sprang full-blown from the (feverish) artistic imaginations of architects and designers such as Antonio Gaudi, Victor Horta, Hector Guimard, the young Peter Behrens, Louis Comfort Tiffany and (though he is usually not included in this company), Louis Sullivan. The problem for art historians is that the sinuous decorations of the style obviously have little to do with the abstract minimalism of the Modern Movement.

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Saul Bass

I met Saul Bass and his wife Elaine in 1994, at a design conference in  Aspen. He was a sweet man, but I remember being rather in awe of him.  Bass (1920-1996), a graphic designer, had elevated the opening credit sequence of movies into a miniature art form. His credits included the titles (and sometimes the posters) for The Man with the Golden Arm, Anatomy of a Murder, and Around the World in 80 Days—where the opening sequence was actually at the end. Most of the title sequences were animated,

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