Dear ArchitectureWeek Readers,
ArchitectureWeek No. 523 is now available on the Web, with these new design and building features, and more. This Notes edition is sponsored by TXI Expanded Shale & Clay:
TXI ES&C helps supply McCarthy Building Companies with "one of the most successful lightweight concrete placements" for the Children's Hospital of Orange County.
Read the full case study
Gordon Drake's 1952 design adding on to a house on Telegraph Hill transformed its conventional backyard into an early icon of California modern living. Photo: Morley Baer/ Courtesy William Stout Publishers
CALIFORNIA HOUSES OF GORDON DRAKE
by Douglas Baylis and Joan Parry
Over and over again, Gordon Drake declared that it was his avowed intention to design decent homes for people on minimum budgets. It is natural enough, therefore, that he will be best remembered for his small homes designed for California living.
One kind of assessment of his work can be approached through looking at the things that he used.
He used light as an integral element of the structure, a device to stress a particular point in composition or in space. He brought in natural light from outside through clerestories, glass gable ends, translucent screens, glass walls. He captured and controlled artificial light in recessed frames, behind opaque panels, in directioned troughs.
Manipulating light, he furnished his houses with moods. He used screens to block off moments of solitude, enclosing an area within a room or in the garden with portable seclusion.
He used panels as backdrops to frame plant structure, to suspend in shadow movement a momentary breeze. He used the gentleness of diffused light for inwardness, the probing of morning's bright light for expansiveness.
But perhaps the material he used best — because only he could use it — was his struggle in the seven years he practiced professionally — 1945 to 1952 — to define and communicate his own values.
He was working with human values — handled, through his work, in terms of the particular client's desires. His questionnaire, headed "What are your requirements?" said in part: >>>
Clerestory windows in the curving enclosure of the Kiasma Museum by Steven Holl bring daylight into a third-floor gallery. Photo: Leon Liao
Lighting with Steven Holl
by Hervé Descottes
Architect Steven Holl spoke about his approach to architectural lighting in a conversation with Hervé Descottes of the lighting design firm L'Observatoire International, which frequently collaborates with Holl's firm. —Editor
Hervé Descottes: How do architecture and space make use of light?
Steven Holl: Space is oblivion without light. A building speaks through the silence of perception orchestrated by light. Luminosity is as integral to its spatial experience as porosity is integral to urban experience.
For our Helsinki Museum of Contemporary Art, Kiasma, the most important building material was light. Of the 25 galleries that make up the main function of the museum, all have a slice of natural light.
The behavior of light guided many decisions. The low angle of the Helsinki sun, never reaching above 51 degrees, helps give sectional form to the curved, "light-catching" aspect of the architecture.
Changes in natural lighting conditions are left visible — so passing clouds bring shadow, and brightness varies as the interior experience varies.
The exterior of Kiasma lacks conventional lighting — the building glows from within, projecting its own light outward. >>>
The UCSF Mission Bay Campus Community Center (2005) is a design by Mexican architect Ricardo Legorreta, the Praemium Imperiale laureate in architecture for 2011. Photo: Jack Wolf
People and Places
by Nancy Novitski
Ricardo Legorreta in Tokyo, Japan — OMA in Toulouse, France — BDP in Mandi, India — tvsdesign in Atlanta, Georgia — HOK in Houston, Texas — Leo A Daly in Omaha, Nebraska — Spector Group in New York, New York — Lord, Aeck & Sargent in Forsyth, Georgia — Shepley Bulfinch in Philadelphia, Pennsylvania — Saunders Architecture in Sarpsborg, Norway
Tokyo, Japan — 2011.Date
Architect Ricardo Legorreta of Mexico has been named the 2011 laureate of the Praemium Imperiale award for architecture by the Japan Art Association. Described by the awards program as "Mexico's most significant living architect," Legorreta combines Western modernism with the building culture of Mexico. His diverse body of work features vibrant colors, geometric shapes, fountains, light-filled spaces, and intimate courtyards.
Legorreta was born in 1931 in Mexico City, where he studied architecture. After working with José Villagrán, Legorreta set up his own practice, in 1964. Now Legorreta + Legorreta, the firm is led by Ricardo and his youngest son, Victor. Legorreta was a close friend of Mexican modernist Luis Barragán's, and was also influenced by the monumental concrete architecture of Louis Kahn.
Legorreta's works include the Camino Real Hotels in Mexico City (1968), Cancun (1975), and Monterrey (2007); the Montalban House in Los Angeles, California (1985); the Museum of Contemporary Art in Monterrey (1991); the Metropolitan Cathedral of Managua, Nicaragua (1993); Pershing Square in Los Angeles (1993); San Antonio Main Library, Texas (1995); the Tech Museum of Innovation in San Jose, California (1998); Visual Arts Center College of Santa Fe, New Mexico (1999); the Juarez Complex in Mexico City (2003-2005); the University of California, San Francisco's Mission Bay Campus Community Center (2005; pictured); Carnegie Mellon College of Business & Computer Science in Qatar (2009); and Georgetown School of Foreign Services in Qatar (2011). His Zocalo condominium community in Santa Fe, New Mexico (2002), was published in ArchitectureWeek No. 122.
Legorreta will receive the Praemium Imperiale award at a ceremony in Tokyo, Japan, on October 19, 2011. He previously received the International Union of Architects (UIA) Gold Medal, in 1999, and the American Institute of Architects (AIA) Gold Medal, in 2000. >>>
Product News - Anti-Slip Acid-Etched Glass
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Tools and Downloads
4D Modeling of Industrial Projects
Synchro Ltd. has issued a white paper on the emerging technology of four-dimensional modeling and planning of industrial projects: "4D Modeling of Large Industrial Projects Using Spatio-Temporal Decomposition," by V.A. Seminov and Tom Dengenis.
White Paper on Anchoring Dimension Stone
Download a general guide from the Marble Institute of America for tradespeople on the practice of mechanically anchoring dimension stone, offering insight about how stone-anchorage devices interface with stone panels and the building structure. The bulletin also discusses common anchorage devices and gives guidance on appropriate anchor devices in different situations.
Rules of File Referencing The Utility of 3D - Cadalyst, 2011.0707
Office 365: Microsoft Pitches Cloud, Eyes Profit - InformationWeek, 2011.0628
Autodesk Suites Are More Than the Sum of Their Parts - Cadalyst, 2011.0623
Z Corporation Announces New Promotions on ZPrinters, ZBuilders and ZScanners - Z Corp Press Release, 2011.0623
A Start-Up's Camera Lets You Take Shots First and Focus Later - New York Times, 2011.0622
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Boulders and large cobbles randomly interspersed with custom-bond brick, openings filled with grillework or screen blocks, battered garden wall (WA-272)
"Which is the best temperature for concrete to cure at: 90, 73, or 55 degrees Fahrenheit (32, 23, or 13 degrees Celsius)?"
In the U.S. market, three-quarter-inch- (19-millimeter-) thick hardwood flooring comes in standard widths of 1-1/2, 2, 2-1/4, and 3-1/4 inches (38, 51, 57, and 83 millimeters). What are the U.S. standard widths for half-inch- (13-millimeter-) thick hardwood flooring?
Classic Home 013 — Inset porch bungalow, by Frederick L. Ackerman
"The wide siding and vertical batten strips, with overhanging eaves and exposed rafter ends, create a rustic impression for the exterior that is novel and artistic. One may enter the living room, which extends across the entire end of the house, from the stoop or from the porch..."
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