Stewart Hicks: The Latest Architecture and News

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Architecture can be funny. Of course, it often makes for a well-disposed butt of the joke, like when Frank Gehry is satirized on the Simpsons, but buildings themselves can be funny as well. Philosophers like Kant believed humor was in the incongruity between what is expected and what is experienced. There are all sorts of expectations placed on buildings and an infinite number of ways that incongruity might grow between those expectations and what a building actually delivers. This video explores some of the most interesting of these humorous buildings through history, from Giulio Romano’s Mannerism, to SITE Architects BEST stores, and many more. Finally, it points to some contemporary practices that deploy humor to achieve more than just a chuckle.

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The House of the Future was designed by Alison and Peter Smithson in 1956 to showcase what house designs might be like 25 years in the future. It is an interior-focused rectangle filled in with amorphously shaped walls, storage units, and a central courtyard as well as high technology of all sorts. It is like something out of the Jetsons. While the design remains unique in the Smithsons portfolio, it was highly influential in their student’s work and firms like Archigram built upon its boldly novel concepts. Despite this long and robust influence, the structure was physically standing for only a short time. In this video, the house is reconstructed and explored in real-time. What would it have been like to occupy The House of the Future? See for yourself.

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Architecture and photography are deeply dependent on one another. The first photograph ever taken frames buildings as its subject. Even more, it took an entire room to produce the image through a camera obscura. In the early days, buildings were one of the few subjects that could sit still for the 8 hours it took to burn an image onto a photosensitive medium. However, architecture is dependent on photography too. Buildings are large, slow, and immobile. Without photographs, it would be difficult to visit the important structures around the world. In this way, photographs are an easily shareable surrogate for buildings. But, photographs are not truthful 1:1 depictions so photographers have a lot of agency when it comes to how we experience architecture. This video offers some insight into this relationship and presents a few photographers as examples for how they interpret an architect's intentions and add their own voice. These include Julius Shulman, Ezra Stoller, Stephen Shore, Iwan Baan, among others.

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Welcome to the Slow House, Diller and Scofidio’s (now Diller, Scofidio and Renfro) first building commission for Long Island, in NY. The crescent-shaped slug doppelganger, was a pivotal design for the firm — and architecture at large — when it was first revealed in 1990. However, the building was never built, living only through its extensive catalog of models and drawings. In this video, the Slow House is digitally reconstructed, analyzed and explored to discover unique elements lurking in its design that can only be revealed through a first-person experience. From delayed million-dollar views, to CCTV feeds of the water, to dozens of operable plywood doors and shades, the house is truly a machine for viewing. And now, you can view it for yourself. 

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Deciding where a building should go is a complex negotiation of visible and invisible, objective and subjective forces. Architects perform site analysis in order to identify and choreograph all these factors, but which factors do they focus on? This video is a survey (pun intended) of what goes into locating where a building should go on the Earth’s surface. From legal requirements like lot lines and setbacks, to infrastructural concerns like service hookup locations and pedestrian ways, to environmental factors like sunlight and topography, the video goes through how architects and contractors position structures. In addition to reviewing general rules of thumb, the video also includes some important architectural examples like the Casa Malaparte and OMA’s Student Center at IIT to inspire unique ways to approach the subject.

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Today, worldbuilding is an important part of creative thinking in a wide array of activites. From successful film franchises, to video games, and to comics, worldbuilding is what draws in audiences and allows multi-part productions to cohere around a shared setting. Of course, architecture factors into this too, it is the creative and technical discipline concerned with building the world, after all. This video breaks down how worldbuilding applies to architecture and focuses on comics as a case study to explore the opportunities in its consideration. Lastly, the video includes an interview with the designer of the exhibition ‘Chicago Comics’ currently on display at the Museum of Contemporary Art. Thomas Kelley discusses how worldbuilding factored into the relationship between architecture and comics in the design of the show with regards to scale, entry sequences, and color.

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Chicago was home to a massive elevated walkway dubbed the “pedestrian highway.” It connected buildings on the East Campus of the University of Illinois at Chicago and created a multilevel network of human activity. It was designed by the architect Walter Netsch, the architect of the Air Force Academy Campus and famous chapel in Colorado Springs. The walkway was gigantic and monumental. It was even featured in the horror film Candyman from the early 1990s. But, over time, the walkway fell into disrepair and the decision was made to demolish this piece of iconic urban infrastructure.

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Copying happens all the time in architecture. From students copying the lessons of established examples, repeating model houses, overtly referencing elements from the past, to literally making blueprints, the act of copying is an important tool for architects. Rarely is copying seen as a truly negative or forbidden activity like it might be in other creative disciplines. This video breaks down the how and why architects copy. It covers some postmodern precedents like the Sainsbury Wing, Vanna Venturi House, Villa Dall'Ava by Rem Koolhaas, as well as the more recent examples like the Eyebeam competition and the David Childs lawsuit. All of these examples serve to highlight the wide range of copies in architecture, from the creative and clever to the lazy and malicious.

This video introduces and defines common architecture terms from A to Z. It is no secret that architecture is full of jargon. This can be the subject of jokes and memes but it can also lead to confusion and frustration. The reliance on jargon is somewhat forgivable — the task of translating complex spatial, geometric, and compositional principles into verbal language is difficult. However, it means that one must invest in learning the language to fully grasp written and verbal communication about buildings. This video helps by providing definitions for 26 common architectural terms in alphabetical order. Terms include aesthetic, buttress, circulation, diagrammatic, enfilade, fenestration, geodesic, hierarchy, iconic, jamb, kitsch, legibility, morphology, node, ornament, program, quoin, rustication, stereotomy, tectonics, urbanism, yurt, and zeitgeist. Armed with this fundamental vocabulary, you’ll be able to keep up with any architectural conversation.  

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As a design feature, cantilevers can exist for any number of reasons, as rational results of form-making, impressive feats of engineering, or just unnecessary spectacles. Either way, they often result in buildings that appear both heavy and light at the same time and they present safely precarious situations for their inhabitants. The video describes what cantilevers are as well as some of the structural principles which govern their design like tension, compression, moment, and shear. It also goes over some great examples by architects like MVRDV, Rem Koolhaas, Ensemble Studio, and Richard Rogers. Finally, it concludes with appreciation for structural engineers and lists a few of the ones responsible for some of the most daring of delicate dangles.

The first house ever built in the United States made entirely out of only concrete and glass is no longer standing. It was demolished in 1999, but that doesn’t mean we can’t visit it virtually to witness what it would have been like to be inside. This video and link below focuses on a single house — the Lincoln House — designed by Mary Otis Stevens to resurrect and explore. It uses the program Enscape to walk through the building and resurrect the experience of what it would have been like to be inside. The video offers a timeline to contextualize the role of the house in the career of the architect and the evolution of Brutalism in Architecture, an analysis of the building, and initial reactions to walking through the building for the first time. What magic and other lessons are lurking in the design, hidden until we could experience it?

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Fire is an important consideration in the design of buildings. From material assemblies, to room layouts, to egress, and fire suppression systems, fire is a powerful force shaping the spaces we inhabit. This video talks about some of those factors while the host, Stewart Hicks, builds a campfire at a cabin in Northern Michigan. Over the course of choosing logs, building, lighting, and enjoying the fire, he breaks down how the construction of buildings relates to principles of constructing a good campfire. He covers theories by Gottfried Sempter, the evolution of fire in the home, considerations in wood frame construction, Bernoulli’s Principle, fire suppression systems, and much more. Grab a seat, bring ingredients for making s’mores, and enjoy some fun fire facts.

What if we could visit any building, regardless of whether it was ever built? Or, even after it has been demolished? This video and link below focus on a single house — the One Half House — designed by John Hejduk, to resurrect and explore. It uses the program Enscape to walk through the building in order to preserve and distribute the experience of architecture that does not exist in built form. The video offers a timeline to contextualize the role of the house in John Hejduk’s career and work, an analysis of the building, and initial reactions to walking through the building for the first time. In particular, the One Half House was pivotal for thinking about how architectural volumes might relate in space without the ordering device of a grid or a wall. What magic and other lessons are lurking in the design, hidden until we could experience it?

This video uses the architect character from the movie Indecent Proposal — named David Murphy and played by Woody Harrelson — to offer professional practice tips. David Murphy engages in a series of risky business practices and repeatedly makes decisions that lead to glaring firm mismanagement. However, his most egregious oversight, and the real ‘indecent proposal’ is meeting a billionaire without cultivating him as a client. This error in judgement leads the wealthy businessman, played by Robert Redford, to purchase Murphy’s design right out from under him. In addition to the practical lessons for avoiding these pitfalls, the video also offers a character analysis that breaks down fundamental principles of Deconstructivist Architecture and other architectural references from the movie.

The Goldenberg House was designed in 1959 by the architect Louis Kahn for Morgan and Mitzi Goldenberg. While the house was never constructed, it was cited by Kahn as holding important lessons for his design process that would be deployed in a number of later structures. These lessons are specifically related to how the outside of the house is irregular while the heart of it, the atrium is a perfect square. While we can see this discovery in the plan drawing for the house, there are likely nuances to its design that are more difficult to understand without being able to visit it in person. But, what if we can visit the Goldenberg House as if it had been built? This video explores the Goldenberg House, its history and design intentions, and uses the findings to construct a digital model of the house to explore in real-time.

The U House is widely regarded as one of the masterpieces of Pritzker Prize winning architect Toyo Ito. It was designed specifically to nurture his sister and two daughters after they lost their father to cancer. Decades later, the house sat empty once the family had eventually moved on from the grips of their grief. In 1997, the house was demolished to clear the site for sale and today the building only lives on in memory, drawing, and images. In this episode of Architecture with Stewart, he reconstructs the U House to simulate what it would have been like to visit in real-life. After a forensic investigation and a close analysis of its program and geometry, he builds a 3D model and navigates it in the real-time render engine Enscape and offers a link for you to explore as well. What hidden treasures are lurking inside this important building lost to the wrecking ball?

This episode of Architecture w/ Stewart explores the only five ways of organizing the plan of a building, at least they are the only ones according to Francis Ching as listed in the canonical text Form, Space, and Order. Each of the five: central, linear, radial, clustered, and grid, offer unique benefits and opportunities to architects, clients, or visitors. Some of the strategies are reserved for formal ceremonial buildings, while others are better for providing less rigid and more organic exploration by occupants. Some yield complete and autonomous forms while others can shrink or grow at ease. However, every single building is, in some way, a combination of these five basic strategies. Using paper cutout shapes, plastic human figures, and representative examples from history and recent constructions, Stewart demonstrates the value and possibilities of each organizational strategy.

Liminal spaces are everywhere, both literally, and as a popular topic of intrigue on Reddit and other image-sharing platforms. Posting photographs of empty dilapidated spaces followed by collective reminiscing of childhood experiences is proving to be a popular activity these days. At one time or another, the spaces depicted in these eerie photos seemed like a good idea, a useful solution to the problem of providing shelter for crowds in the act of movement or commerce. Architecture had specific terms for these spaces too and defined them through theories that explained their role in our culture. In this video, architectural professor Stewart Hicks presents how architects think about liminal spaces, what goes into them, why they exist, and why some architects and artists still work to produce their effect.