Architecture school is a place of experiment and a testing ground for innovative ideas. The academic work and student projects can bring to light the focus of an entire career, shape the backbone for an architectural theory, and crystalize values. How do their studies and formative years reflect on the later work of different architects? Taking a journey along decades, we explore the transition from architecture school to practice, the reverberance of academic explorations and early projects in the work of several architects and practices, highlighting the different pivotal steps that have shaped the beginning of their architectural journey.
Yale: The Latest Architecture and News
Although the field of architecture likes to think it is cutting-edge, adamantly liberal, and on the forefront of history, we still look towards the compulsive tendencies of the glorified visionary, their revolutionary thoughts, illuminating process, and iconic vision.
In the spirit of Virgil Abloh we put quotation marks around the word "vernacular." Then we replace the word with a blank and ask you to fill it in. What do they build with where you're from? What do indigenous houses look like? What methods do they prefer and who actually uses them? This issue of Paprika!, a weekly journal at the Yale School of Architecture, will probe the architectural vernacular, a concept increasingly in vogue but equally undefined.
We invite all essays and comments that reevaluate the “vernacular" in contemporary design, encouraging specific examples where possible. We also invite
Robert Venturi (1925-2018) was the most influential American architect of the last century, though not primarily for his built work, or because of his stature as a designer. He will never stand beside Wright, or Kahn, or even Gehry in that regard. Between 1965 and 1985 he and his collaborator, Denise Scott Brown, changed the way all architects look at buildings, cities, and landscapes, much in the way that Marshall McLuhan, Bob Dylan and Andy Warhol changed our view of art, media, and popular culture during the same period.
I worked with Bob Venturi during my apprenticeship in the 1970s; I also grew up with his books, buildings and paternal influence. He and my father were one year apart; Denise is the same age as my mother.
The Renovation of Louis Kahn's Yale University Art Center: A Significant Moment for Architectural Preservation
This article was originally published by Common Edge as "How the Restoration of Louis Kahn’s Yale Art Gallery Helped Kickstart Modern Preservation."
I have a distinct memory from my days as an architecture student at the University of California Berkeley in the late ‘80s. During an architectural survey class taught by Spiro Kostof, Louis I Kahn’s Yale University Art Gallery popped up in the slideshow. “Nice building,” I thought, “but what’s with those windows?”
Fifteen years later at Polshek Partnership (now Ennead Architects), I would become the project architect for the construction phase overseeing the rehabilitation of that classic building—the most challenging aspect of which was to replace “those windows.” I came to understand, intimately, how the double-paned window wall had failed almost as soon as construction was complete. Condensation accumulated between the panes, creating the foggy effect that marred my first impression of this groundbreaking building.
An exhibition highlighting the work of Oskar Hansen (1922-2005), architect, urban planner, and theorist, has opened at the Yale School of Architecture (YSoA) running from 1 September to 17 December 2016.
Oskar Hansen: Open Form traces the evolution of Hansen’s theory of Open Form from its origin in his own architectural projects to its application in film, visual games, and other artistic practices. The exhibition will be on view at YSoA through 17 December in Paul Rudolph Hall, 180 York St. It is free and open to the public Monday-Friday 9.00- 5.00, and Saturday 10.00-5.00.