In L.A. County, a Mayne goes up, a Gehry comes down




    Thom Mayne and Morphosis' new $50 million home for astronomers, the Cahill Center for Astronomy and Astrophysics at Caltech in Pasadena. Though not yet open, the building already appeals to me more than does much of the work of Morphosis. Mayne seems to be softening, here and at his La Phare tower in Paris. This work is less aggressive, more contextual, even beautiful the way the sun hits the ochre, Italian-ish panels. I like how he brings natural light in to the lower level. The interior will have stairwells and other areas designed to cause random interaction between the scientists working there.

    This all gives me hope for Morphosis' new academic building at Cooper Union in NYC which we know will be interesting on the interior. But that one has the mesh metal facade that Mayne / Morphosis seem to favor. They've softened it up, compared to their earlier work but it still risks being too hard and sharp for an urban environment.

    In Pasadena, much of the budget went to provide special conditions for the laboratories, and of course to safeguard it all in the event of an earthquake. Why do so many L.A. buildings look as if the quake already hit? I guess I answered my own question.

    While the Mayne goes up.... remember


    Frank Gehry's Santa Monica Place mall from 1980, renovated in 1991 and again in 1996?


    Kiss it good-bye.




    To be replaced by next year with a new mall designed by the Jon Jerde partnership.

    Gehry's adjacent gridded parking lot remains



    at least for now. That's the one with - on the other side - "Santa Monica Place" writ large in the chain link.


    (Blocked by trees. Ah, what architects suffer!) Santa Monica Place was not Gehry's greatest work but I'd have liked to have seen him design the new mall on this site.

    Well, as they'd say in L.A., the glory of Santa Monica Place will live on forever in film and TV such as Pretty in Pink, Terminator 2 and Beverly Hills 90210.
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Viva! Studs Terkel

    Friends in Chicago tell me that Studs is soon to pass. Sing a spiritual. He would.


    Studs is now 96. As a Chicagoan I grew up with Studs Terkel on the radio. He taught me about the voices of the world, and to listen to everybody, because everybody's got a story, and everybody here is a part of this American experiment, and those elsewhere have much to teach us. He showed me that war is crazy and music is life and voices are musical and when music and voices are paired, it's magic. His daily one hour interview show introduced me to Mahalia Jackson and Maria Callas, Big Bill Broonzy and Bob Dylan, Bertrand Russell and Nelson Algren; plus countless actors and authors and civil rights leaders and those were the times. Most importantly he taught me to care, with all my being, and to show it.

    I never saw Studs without a book, almost always several. He lambastes the cultural amnesia in America. He can remember conversations he's had decades earlier, or plays he's seen, or concerts he's heard. And his stories of them bring the long gone performance back to life as Studs infuses it again with his energy.

    Author of Hard Times and Division Street: America; Talking to Myself and in 2001 - Will the Circle Be Unbroken: Reflections on Death, Rebirth and Hunger for a Faith and many other books, he loves to tell the story of the librarian who wanted to ban his book Working, because she read the spine wrong and saw Working Studs! He would cackle, certain that small-mindedness is wrong and certain that once again he was right. He holds his convictions firmly. I always heard he'd been blacklisted during the McCarthy era.

    Loving politics and justice and art and human foibles, Studs lived more than most and he remembered what he'd seen and he loved to talk about it. He was known as a great listener but I've always thought he was a better talker. He appreciated the past, lived in the present, and looked forward. Seeing Studs in his apartment on the north side of Chicago - where he lived with his wife Ida, (who passed away in 1999,) was odd when he was older because he had more youth and exuberance than most young people, he loved to talk about the future, and there you were in a lovely apartment that looked like a 1960's place - with the Scandinavian furniture and shelves full of vinyl records and Marimekko type design. Of course it was filled with loads of new books. I hope his home will be documented, it will tell future generations much about the love of books and the life of a twentieth century lefty intellectual.


    His is a life well-lived. I remember seeing Studs at the theater, in bars watching baseball games and rooting enthusiastically, almost exactly three years ago I watched him and Garrison Keillor recite some of their favorite poems to each other, in a radio studio. Their mutual respect was clear. They played off of each other and yet, each a ham, each wanted to outdo the other. Two grown men, dueling, and at the same time expressing affection, with poems. In 1999 I saw Studs at a poetry reading, I wished him well and he fiercely proclaimed that he wanted to make it to see the 21st century. He said it the way Muhammed Ali used to say he wanted to win a fight.

    Studs did enter the new millennium, but by 2005 his ticker was giving out. So, at age 93, he went for open-heart surgery. He pulled through very well and amazed his friends and doctors. Now, I know he wants to see Barack Obama become President. And maybe he will.

    Studs closed his radio show, and signed books with "Take it easy, but take it." It's a quote from another of his political and artisitic heroes- Woody Guthrie. Take it easy Studs. You took it.

    Beloved Mahalia Jackson sings in "Move on Up a Little Higher,"
    It will be always howdy howdy
    It will be always howdy howdy
    It will be always howdy howdy
    and never goodbye
    ...
    We gonna live on forever
    We gonna live on, up in Glory afterwhile
    Move On Up A Little Higher!
    Send Studs Terkel your best wishes. I'm sure that even though in recent years he is as he says, "deaf as a post" - Studs still hears humanity.

    ---
    The website for Studs Terkel.
    A video of a conversation between Studs and Andrew Patner.
    Roger Ebert on How Studs helps me lead my life.
    Saint Studs by David Murray

    And here's Mahalia for you Studs



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Fabulous. Frank Lloyd Wright on "What's My Line?"



    Wright, almost 89 years old on June 3, 1956 looks a little bored, although he does "twinkle" at the applause, when they introduce him as


    I love it when one of the panelists asks if their mystery guest (FLW) works for a profit-making organization! I wish Wright had had the chance to answer.

    And the question about whether his work involves the law is very funny.

    Once he's named, and asked what he's worked on recently, Wright responds,
    "...just built a tower on the Western prairies, the Price Tower. I wish you could see it. I'm quite pleased with it. I wish we had a photograph of it here, I'd like the panel to see it. Make sure they haven't wasted their 'guest time.'"
    Ah yes, the modesty of the "World Famous Architect,"

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Frank Gehry and "Ungapatchket"

    I've seen a little written about


    Frank Gehry's installation at the current Venice Biennale.

    But nothing about its wonderful name. He calls it Ungapatchket.

    Man, I should be a millionaire by now. Everything I created as a child I was told was
    Ungapatchket. Well actually, Ongepotchket.

    It's Yiddish for "messed up. Thrown together. Not carefully assembled. Or, excessively decorated."

    I know Frank Gehry, aka Ephraim Goldberg harzs Yiddish. When I interviewed him about


    the open trellis he designed to go in front of his bandshell in Millennium Park in Chicago, and I asked him what Chicagoans will do when it rains, because unlike in L.A. it rains often and a lot in Chicago, Gehry told me, "They didn't want to spend the money for a retractable cover, so, you'll throw a schmata over it!" Yiddish for rag.

    And on that same trip he told the New York Times,
    Over an egg-white omelet at the Ritz cafe (whose ornate decor he dismissed as ''ongepotchket,'' or excessively embellished), Mr. Gehry said he was tantalized by the chance to work in Chicago, ''the architecture city of America.''
    ---
    For the record: Ongepotchket
    An adjective based on a past participle, of the verb 'onpatshken', to sully. The stem of the verb is Slavic, and the prefix is Germanic, cognate with German an-. The differences in spelling reflect both the various ways of spelling Yiddish words with Roman letters, as well as differences in dialect -- 'un' is southern, and 'on' is northern. According to the YIVO system used by scholars to write Yiddish words with Roman letters, the word is spelled 'ongepatshket.' but other spellings can be fine.

    As a side note, the same Slavic root gives rise to another less common Yinglish word, 'potchkey,' meaning to fiddle around.

    Maybe that'll be the next piece by Gehry. Potchkey.




    Photo: Frank Gehry Ungapatchket
    2008, Photo Giorgio Zucchiatti, © Fondazione La Biennale di Venezia
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Dancing on Gehry




    Click on one of the photos.

    From the New York Times listing: NOÉMIE LAFRANCE The site-specific choreographer Noémie Lafrance might just have found her holy grail in the Frank Gehry-designed Richard B. Fisher Center for the Performing Arts at Bard College. Her “Rapture” will not take place in it, but on it, with dancers traveling across the voluptuous surface using a sophisticated rigging system. (Through Oct. 5.) At 7 p.m., Annandale-on-Hudson, N.Y.; (845) 758-7900, fishercenter.bard.edu; $25.

    How will she follow this up? By tackling Gehry buildings around the world, of course.
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Will we lose another Frank Lloyd Wright house?

Build me an art crusher

    A modest proposal. Since these






    glossy, junky works by Jeff Koons will soon fill
    Mies van der Rohe's distinguished New National Gallery in Berlin



    Can we ratchet down the roof on them?




    A good use for an art museum. To crush bad art put inside of it.


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    I recently wasted an hour at the Jeff Koons exhibition in Chicago (closing September 21). It was far too much time to spend there. You can learn more about life today - and have a better time - by simply walking through the aisles of your local supermarket. Then I saw the same damn works by Jeff Koons again at BCAM in Los Angeles. Yes, they're commodities.

    Large, colorful and shiny, Koons' stuff looks like it might have something to say, but after even a moment, boredom sets in and you're ready to move on to the next piece of glitz in his charm bracelet of an oeuvre. Walking through a Koons exhibition is like clicking the remote on daytime TV cartoons and soap operas.

    A Koons piece might be cute, but not clever. Funny, but not witty. It might be about sex, but not sexy. He offers a shallow youth-obsessed culture and status symbols to play with. Spending time with his baubles makes me feel like a sucker.

    ---

    I agree with Tom Freudenheim's estimation of Jeff Koons in the Wall Street Journal.
    Tom and I spoke of Koons while walking to the Bernini show now at the Getty Center in Los Angeles (Bernini and the Birth of Baroque Portrait Sculpture - through October 26.) Once there, it was tragic to think of Jeff Koons, so we didn't, and life improved.

    The Bernini exhibition is a miracle. Drawings and bronzes and marbles (hand-made! Artists actually used to do that!) You meet the characters in Bernini's 17th century neighborhood - the Vatican. You get to know them, their worries and their joys. Some of the heads seem to want to lean over and whisper an old joke in your ear. The sculptor showed off, in the best of all ways. With a prodigious talent and a profound curiosity about the human condition and the human drama and where our deepest emotions lead us


    (That vein in the marble is more beautiful than anything in Jeff Koon's polished plastic surgery world.)

    Bernini shows how emotions and soul are displayed on our faces, our hands, the clothes we wear, in our medals and postures, in the breath in our chests that comes out through the mouths he sculpts whose lips are always in stopped motion and whose eyes tend to yearn.


    In Bernini's portraits of Popes and Cardinals and Kings wealthy businessmen and his mistress, you are pushed back as a viewer by their ambitions, seen in the ways they hold power in their bodies.


    You can tell after while which of the leaders is a fraud. Which stand for good and which don't. One or two of the powerful men in marble simply would not look at me, no matter where I stood.

    These works are displayed without protective glass, in a gorgeous installation that evokes Bernini's era and milieu. It is a true wonder to see up close, enough Berninis to follow his development, and not so many that you're overloaded, as happens in Italy. The number of sculptures allows us to see the range of human emotions. Bernini, despite the hypocrisy of his age, retained faith in humanity.


    In this day when elitism is condemned, it's good to remember what good it can bring us. Koons and Bernini both needed patrons. That hasn't changed. The quality of the thought and the art has. Bernini's complexity raises questions and takes positions. You know that the thinks that Thomas Baker, the English businessman who could pay more than a king for a portrait by Bernini, is simply a buffoon. You see this in the way Bernini lays his mop of a coif' on top of his blank eyes.



    There's not much inside. It's all for show. Self-love is empty. Would that Jeff Koons would take such a stand!

    If you're in L.A. see Bernini. If you're in Berlin, huff and puff and hope the roof falls.


    Top two Bernini photographs courtesy of the Getty
    Third and fourth Bernini photographs: Monica Almeida/The New York Times, which has a wonderful slideshow and review by Holland Cotter.

    Bottom Bernini photo of Thomas Baker: Victoria and Albert Museum, London, England

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And that's when it's dry

Mies and Damien Hirst

This will break your heart



    Click on it to see it even bigger. To see how wet it is inside. I believe this photo was taken on Monday.

    The scene is so wicked it reminds me that the Nazis - who didn't like Mies' modern architecture of steel and glass - used the word "aquarium" against him.

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    Help restore the Farnsworth House, here.

    Here's a blog about the restoration efforts.
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The Spiral Jetty of Architecture?

    Farnsworth House flooded flood water Mies Plano Landmarks Illinois

    Farnsworth House flood water Mies Plano Landmarks Illinois
    Hang it all. Mies van der Rohe's Farnsworth House in Plano, Illinois has flooded - again. Tropical Storm Lowell and Hurricane Ike are behind rains pummeling the Midwest.

    The National Trust for Historic Preservation has the story. Support the Trust's house rescue efforts here.

    Landmarks Illinois says the house is closed for tours for the rest of the year. You can help them here.

    The Chicago ex-urbs around the Farnsworth, fields when it was built, are now very built-up, without enough land left for rainwater to seep into the earth. Combine that with climate change and- in the 60 years since the Farnsworth House was built, it has suffered 7 one hundred year floods.

    Is it becoming the Spiral Jetty of architecture?

    Update 2 pm Monday: Whitney French, the Historic Site Director writes,

    The water has receded to a height of about 4 and a half feet with the expectation that the majority of the site will be drained by late Wednesday or early Thursday. We are working to get restorationists into the house (via boat) to assess the damage and advise on next steps. The furniture was spared with the exception of the wardrobe. The core took a bit of a hit, but we are optimistic that the appropriate drying technique can spare us some heartache.

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He said, She said

    The empty stage of a room is fixed in space by boundaries;
    it is animated by light,
    organized by focus,
    and then liberated by outlook.

    -Charles Moore, Gerald Allen, Donlyn Lyndon
    The Place of Houses
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Planes, trains of thought and peace

    The New York Times story on the retro-futurist design of the interior of the new Airbus A380 double-deck superjumbo jet for the Australian airline Qantas


    reminded me of this timeless, unforgettable form follows function; beauty in structure shed designed by the late Chicago architect Myron Goldsmith.



    What a perfect fit! Excitement when that beautiful plane enters that shed. A sense of completion. The shed's straight lines contrasting with the curves and angles of the aerodynamic plane. To welcome the plane back home. To rest, before it takes off again.

    ---

    It also reminds me that architect Norman Foster famously said,
    when asked to make a film for the TV series Building Sights about his favourite building, Foster chose a Boeing 747. This was a homage not just to the aerospace industry that has so inspired him, but to the big-spiritedness of US design, the American belief in getting things up and flying, of taking on daunting challenges in the belief that they will succeed.

    Ah yes, Boeing. They have their own Dreamliner coming out soon. Airbus has raised the stakes for design as a competitive tool and Boeing has understood. The 787 should be gorgeous.



    Look at that. All curves inside. That's calming too. As is the lighting. As in the A380 LEDs in the ceiling will give a sense of daylight or of a beautiful night sky.

    The L.E.D.’s that illuminate the cabin are programmed to wash the interior with colors that change subtly throughout the flight. Each shade is selected to create the ideal mood for a particular activity, like sleeping, waking or eating, regardless of time zone.

    Boeing thinks about these things, "Blue/green is nearly unanimously associated with peace," it says in a Boeing article called, "The Psychology of Comfort in Airplane Interior Design - Shape, color, patterns and lighting influence how travelers feel."

    I would feel peaceful too, watching a jumbo jet pull into Myron Goldsmith's shed at San Francisco International airport. Like finding the perfect puzzle piece. Modernist perfection it is. Too bad it was demolished in 1996. I guess its perfect shape for 1958, when built, would hardly fit today's larger aircraft anyway. What we build today is often too big.

    But I do find the new jets and their interior cabins thrilling.


    A380 photo: Robyn Beck/Agence France-Presse — Getty Images via the New York Times
    Boeing photo: Boeingmedia.com


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    BLDGBLOG wonders too about "the idea of the Gesamtkunstwerk, or total work of art, here transformed into a total environment sent aloft into the sky."
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