Chosen Architect

Richard Rogers -

Primary research will follow once it is gathered all together.

Start of research for Essay

http://www.caa.uidaho.edu/arch504ukgreenarch/2009Archs-CaseStudies/Jessica%20Shoemaker-%20Case%20Study-%20Richard%20Rogers.pdf

http://designcrave.com/2009-04-02/famous-architects-homes/

The Personal Homes of Famous Architects: 8 Great Masterworks

Thursday, April 2, 2009 1:58PM - By mikepayne

An architect’s home is the ultimate self portrait. Their clients, be they municipal, corporate or private, all bring constraints on creative freedom. When an architect sets out to build a home of their own, artistic freedom is truly an unlimited resource. What, then, is the true measure of an architect? The home that they themselves call home. Continue reading for a selection of homes owned and inhabited by some of the world’s most renown modern architects.

Frank Lloyd Wright’s Taliesin West

Like Frank Lloyd Wright’s Home and Studio just outside Chicago (shown above), his winter home in Scottsdale, Arizona is a sight to behold. The famed Taliesin West is a mecca for students of Architecture and a jewel to the eyes of curious fans. Wright excelled at building with the landscape and not onto it, and Taliesin West is a prime example of bringing the inspiration of local nature into his design. Today, Taliesin West is the main building of the Frank Lloyd Wright School of Architecture, where it is studied and preserved by dedicated caretakers.

Taliesin West Gallery

Eames Home – Case Study House No. 8

While the Eames duo were known more for their furniture than their architecture, the Eames Home in Northern California is a prime example of modern architecture. One of several collaborative works between the Eames and Eero Saarinen, “Case Study No. 8″ became the home and workplace of Charles Eames and his partner and wife Ray. Preserved today by the Eames Foundation, Case Study No. 8 is open to public tours of its interior and the signature Eames furniture within.

Eames Home Gallery

Frank Gehry Home – Santa Monica, CA

While his career may not have escaped controversy, architect Frank Gehry escapes to the Santa Monica, California home of his own design. Having cast aside the rules of functional form long ago, Gehry’s personal residence was an earlier work that hinted at his future accomplishments in style. Constructed in 1978, Gehry Residence may appear a bit tired today, but it remains one of Gehry’s more popular stateside works.

Gehry Residence Gallery

Casa Das Canoas by Oscar Niemeyer

Famed Brazilian architect Oscar Niemeyer (who will be a young 102 years old this December) has put a lasting mark on the skyline and culture of his home country. Among his greatest works is his personal residence, Casa Das Canoas. The smooth, curving lines of concrete and glass merge beautifully into the wild Brazilian landscape. Originally built in 1953, this modern home remains on the cutting edge of progressive design to this day.

The Alden B. Dow House and Studio

The son of American chemical industry magnate Herbert Henry Dow, Alden B. Dow became a renown architect for his works throughout the state of Michigan. Of these is his most famous work, the Alden B. Dow House and Studio. Now a national landmark of the United States, Dow’s home was designed in the prarie style of Frank Lloyd Wright, an architect whom Dow commonly associated with. Most noteably significant of the Dow home is that it is built right into a surrounding pond, with the water level just inches above the home’s windows.

The Wogenscky-Pan House

French architect André Wogenscky was first known for his collaborative work with Le Corbusier, France’s most influential modern architect and one of the founders of the movement. Independently, Wogensky exhibited his own brilliant talent in projects like the home he shared with his wife, sculptor Marta Pan, shown above.

The Ray Kappe Residence

Enterprising photographer modern r us on Flickr captured a shot of architect Ray Kappe’s private residence. While not many details are available on his own home, Ray Kappe’s works are among the greatest American designs of the late 20th Century. His best known works include the Benton House and the LivingHomes RK1, a modern prefab home much celebrated by online media (including us, in the StyleCrave feature titled Prefabulous: 9 Amazing Modern Factory Built Homes).

MORE ON THE WEBSITE http://www.washingtonpost.com/wp-dyn/content/article/2009/11/05/AR2009110505666.html

The architect's own place, small but full of poetry and surprise

A wavy bronze sculpture encloses the carport on one side. At night, heaters and track lights tucked under the pergola roof of the carport transform this area into an outdoor party space. (Jim Bartsch)

Saturday, November 7, 2009

When architect Barry Berkus designed a pied-à-terre for himself in Santa Barbara, Calif., three years ago, he brought an unusual depth to the project.

First, Berkus knew every inch of the downtown site and the surrounding historic neighborhood because he designed the house next door, where he lived for two years before selling it to the current owner. He also designed three houses across the street.

Second, and more important, over a 50-year career Berkus had accumulated a nearly unmatched wealth of experience in residential design. When Berkus left the University of Southern California in 1957, a professional focus on residential design was not a popular choice.

Raising even more eyebrows, Berkus wanted to work with home builders as well as individual clients because he wanted to make good design affordable to the average homeowner. He recognized that every family wants a well-designed house, but few can afford an architect's design fees, which can add 5 to 20 percent to the construction cost of a custom-designed, custom-built house.

http://modresdes.blogspot.com/2007/12/arthur-casas-house-in-iporanga.html

http://www.taschen.com/pages/en/catalogue/anniversary/all/05010/facts.100_houses_for_100_architects.htm

http://designcrave.com/2009-04-02/famous-architects-homes/

must have a look at

Architects Essay

Essay work-
BA ISD Stage 1 09/10 History and Theory project 1C: a)electronic submission Your History and Theory assessment consists of 2 parts: an electronic submission and a written essay of 1,500 words. They each contribute 50% of your overall H&Th mark. You begin with part a in the autumn term and complete it by January 25th. The essay will begin the spring tem and will be handed it at the beginning of the summer term. BRIEF You will put together an electronic folder (a blog) that contains visual and written/spoken material which should document your analysis and understanding of a specific architectural space. You will make this available to all other students of the year group by posting the link of your ISD blog on the H&Th wiki sitehttp://cltad.arts.ac.uk/groups/isdhistoryandtheory (user name: handth pass world: Palladio). No hard-copies are necessary. You must identify your submission with your full name and post it in the wiki sub-group Stage 1 assignment. THE SUBJECT The object of your analysis is THE HOME AN ARCHITECT BUILT FOR HIM/HERSELF. Here the designer was free to work unrestrained by the wishes of clients to develop a piece of architecture (a house, a flat) that can express his/her ideas about space in general and domestic space in particular. You will choose one such project, from any period or place. PROCEDURE Identify an architect whose work interests you and find out if he/she built something for him/herself. You will need to research this architect; their background, training, socio-historical context, their buildings and their design language. You will then analyse their home by commenting on carefully chosen images (plans, sections, etc. as well as photographs) as to the design ideas you can identify. You should also consider the context of the site (urban or rural or suburban; which climate, what surroundings, etc) and the sort of life that such a space is designed for (family life, living and working, private retreat or sign of prestige, etc.) You should have a least 10 images to refer to. Your commentary can be spoken or written. You can record yourself using software such as Garageband if you have a Mac (there is however no need for a soundtrack!) or use Powerpoint if you prefer to write your comments. Remember that it is the content that counts not the packaging. You will be marked for the quality of your observations and comments not for the ‘funkiness’ of the graphics. The whole presentation should fit within 10 minutes if it were delivered orally. You also need to reference where you found your material (books, magazine, web-pages). The dead-line for this submission is January 25th 2010.
Website bbc - Radio interviews Richard Rogershttp://www.bbc.co.uk/bbcfour/audiointerviews/profilepages/rogersr1.shtmlRichard Rogers b1933[Photo][Photo]The Creating Eye
21 August 1988 Radio 4
Richard Rogers talks to Caroline Julius about

[Photo]the role of the architect 2 min 0

[Photo]pushing forward with new ideas, the need for constant questioning 1 min 45

[Photo]architecture in the environment 2 min 11

[Photo]the key responsibilities of the architect 1 min 27

Final Film Write up

Final Write Up For Blog – Film Project

Final Layout of Scenes –

Flat 1 – Taking hood off wall (show as little as head/hair as possible)

Exiting the Flat

Taking the Stairs 3 separate shots

Walking along by the river.

Music that was used –

Start of movie – Silence until the stairs appear

Stairs – At the top of the stairs “Come to Daddy” by Chris Cunningham

This was overlaid with sounds of footsteps going down the stairs.

Chris Cunningham “come to Daddy” continued through to Exiting the Building, Walking along the river, till the first black screen (before the train)

Train Station – “come to daddy’ played alongside the original sound of the broken camera.

On the escalators – The original sound from the tube station

Then combinations of whispers and cuts from Apex Twin and a combination of Chris Cunningham’s movie film music.

When working out the order of the film we realized that even more editing was needed. The film was good and the scenes flowed but it was still took to long to work your way through the film. In the end instead of being 20 minutes long our film was only 4 min 32 sec long, however I do not feel that this changed the outcome of what the project was aiming at which was to create an image or series of images that focused on unused and left over spaces; we did this by looking at space from two perspectives the wolf and little red riding hood. However by the end of the film we had drifted away from the use of wolf and little red riding hood the images became more about how to create tension and build up suspense. Quick switches between scenes and long pauses in specifically chosen areas did this.

The film when it was shown in the crypt was appealing it held the audiences attention, I think that the shortness of the film helped with this also, images were quick and to the point.

An area I feel the film could have improved was with the sound; which we left till the last few days. With more time I feel we could either have found or created sound that fitted the film better. However the music we did choose increased the intensity of the film, which helped with the impact of fear and suspense.

Follow up Film Project

3/12/09

Notes from 27/11/09 – Talk with Tutors

We will take notes on what has been said in this discussion as use it to redevelop areas of the film. The comments from the tutors were both positive and negative; the negative were constructive comments that we can review and see where we have gone wrong, these will be taken in to account throughout the next week when we are editing our work.

Comments from the Group

- After just exiting the flat add in footage shot down by waterloo of the waters edge and walking through the crowd.

- Trees / Wood add in slots of the city (overlap/ and over lay shots)

- When Little Red Riding hood exits Burlington Arcade cut shorter the end part of the shot we do not need to watch her walking down the street.

- Shorten the bridge scene shot in waterloo, as well as this lengthen the time when the bridge shot merges with the street pavements. Changing the degradation of colours to allow them to switch with a smoother transaction.

- Watch “Don’t Look Now” and reference in research.

Tutors Comments

- Have voices coming from nowhere working with the scene or with the music, use these to create and initiate an emotion. This adds a layer of uncertainty.

- NO TEXT, however with voice can be used but must be edited with care so as not to make it stick out with a sore thumb.

- Some scenes last way too long, change to see what brief and blunt shots would look like instead.

- Shots of character in some parts are too long; we know at the beginning that she is human. However fleeting glimpses of her would create this illusion that she was no human but was an animal or minster.

- Trying just to get the cape in the shots.

- Take out the shots of the metro not needed. Instead snap shot of her entering the train station, the one of the getting on the escalator, then the footage of her going down the escalator. However cut short the end of the escalator footage till just after she appears. Then jump straight to the footage of her getting on the train. Short and sweet!!

- Reduce the amount of effects used; this will create continuity, understanding, and relation throughout the movie. Understanding the function of the effects used allows for the movie to flow.

- NO pop and NO jazz, no music that is noticeable to the viewer, best thing to do is to make our own music and make it suit the film adding understanding,

- Maybe listen to the “Don’t Look Now” sounds track, the music used is obscure and fits the action-taking place. Also look at the sound track for “Stalker”.

- Reduce the amount of wobbly footage. However the use of some is good as creates an uneasy feeling.

- Use sounds that make the viewer feel uneasy such as screeches, loud piercing sounds, loud busy noisy places etc.

- Try to link scene more coherently such as the woods scene and the use of Trafalgar square, the mirror bubbles and the convex tube mirror. Maybe look at making this some form of disjointed imagery.

- Reflection of cape linking with city scenes, not having the mirror bubbles right before the convex mirror shots.

- For the end of the film, Little Red Riding hood could be consumed by what she views as reality; which is not reality in fact. The sheets surrounding her could engulf her, these might symbolise her imagination and her thought pattern.

LOOK AT AS A GOUP FILM CALLED THE RED SHOES….

Music video for red shoes by Kate bush

Look at the Red Shoes story by the Brothers Grimm.

Film and Space project - brief 05 (development)

shot of final flat 2, looking distorted and out of place ( using projector and made image)

Follow on detail on the story-board drawings (more to follow)

Test shots and sketch drawing for stage set up last scene flat 2.

Figuring out sequence of events throughout the Film-

Scene 1 - Flat 1 – * Grabbing of cape from the wall (note – tutors said to take out phone in the filming part of this scene- photo shop)

* Walking down the spiralling stairs (change of shot views and angles, linking together to create disrupted imagery)

* Exiting the residence with the end shot from above.

Link between scene 1 and 2 – Looking at linking scenes with either shots of buses or undergrounds to represent the idea that little red riding hood has changed locations.

Scene 2 – Piccadilly - * Walking down Burlington Arcade (disappearing from view)

* Using the reflection from the bubble instillation at the royal academy of art. (We cannot directly show the installation so we will come up with a way to film the reflection without directly giving away on the film what the mirrored objects are.)

* Trafalgar Square, again we cannot directly use the exhibition of the roots but we can use the twisted forms of the roots but filming up close and abstracting what the objects as a whole are.

Linking between scene 2 and 3 here we are beginning to show the confusion between the wood and the city interlinking shots and blurring images together. This will aid in representing little red riding hoods distortion of reality.

Scene 3 – Wood - * shots and filming sequence of mixing between distorted images of the wood and little red riding hood.

* Use of point of view from both little red riding hood and the wolf (creating the impression that the viewer is part of the film allowing them to look from both angles)

* The ending of the wood scene beginning to blend with the following wood scene with the use of interlinking images of the city and wood. Merging together images to disfigure the faces of passers by in the city adding to the dilution that little red riding hood is experiencing.

Link between scene 3 and 4 occurs during scene 3. Images blend together and the transition between the two scenes occurs.

Scene 4 – City - * Shadow themes

* Using different angles

* Shooting from the top of building and filming while following little red riding hood. Using both from the wolf and red riding hoods point of view.

* Showing her progress through the streets, manipulating footage we have taken, of people’s faces and of the bodies.

While working through the film we looked at various movies and clips to get inspiration for types of filming and ideas on what to film. Films that we have looked at are “Nostalgia” and “don’t look now” as well as kids films like “Mary poppins” and “bed knobs and broom sticks”. We also looked at films on you tube such as

- "confessions of a agoraphobic (flaneur" http://www.youtube.com/watch?v=D_eq_X_xG6I)

- "lulu lives here"

As well as films we looked at music and music videos such as

- high contrast “ Days go by” (http://www.youtube.com/watch?v=3OVOG108yQY)

-massive attack (http://www.youtube.com/watch?v=yftOy8kz7aE)

both use dramatic and unusual ideas for their videos.

For the final scene ideas for filming –

- Having the projector turning twisting the room out of context.

- Little red riding hood turning and climbing with the room.

- Twisted vision.

- Figures behind the fabric on the walls and on the floor.

- Ceiling falling down.

Notes from 27/11/09 – Talk with Tutors

We will take notes on what has been said in this discussion as use it to redevelop areas of the film. The comments from the tutors were both positive and negative; the negative were constructive comments that we can review and see where we have gone wrong, these will be taken in to account throughout the next week when we are editing our work.

Comments from the Group

- After just exiting the flat add in footage shot down by waterloo of the waters edge and walking through the crowd.

- Trees / Wood add in slots of the city (overlap/ and over lay shots)

- When Little Red Riding hood exits Burlington Arcade cut shorter the end part of the shot we do not need to watch her walking down the street.

- Shorten the bridge scene shot in waterloo, as well as this lengthen the time when the bridge shot merges with the street pavements. Changing the degradation of colours to allow them to switch with a smoother transaction.

- Watch “Don’t Look Now” and reference in research.

Tutors Comments

- Have voices coming from nowhere working with the scene or with the music, use these to create and initiate an emotion. This adds a layer of uncertainty.

- NO TEXT, however with voice can be used but must be edited with care so as not to make it stick out with a sore thumb.

- Some scenes last way too long, change to see what brief and blunt shots would look like instead.

- Shots of character in some parts are too long; we know at the beginning that she is human. However fleeting glimpses of her would create this illusion that she was no human but was an animal or minster.

- Trying just to get the cape in the shots.

- Take out the shots of the metro not needed. Instead snap shot of her entering the train station, the one of the getting on the escalator, then the footage of her going down the escalator. However cut short the end of the escalator footage till just after she appears. Then jump straight to the footage of her getting on the train. Short and sweet!!

- Reduce the amount of effects used; this will create continuity, understanding, and relation throughout the movie. Understanding the function of the effects used allows for the movie to flow.

- NO pop and NO jazz, no music that is noticeable to the viewer, best thing to do is to make our own music and make it suit the film adding understanding,

- Maybe listen to the “Don’t Look Now” sounds track, the music used is obscure and fits the action-taking place. Also look at the sound track for “Stalker”.

- Reduce the amount of wobbly footage. However the use of some is good as creates an uneasy feeling.

- Use sounds that make the viewer feel uneasy such as screeches, loud piercing sounds, loud busy noisy places etc.

- Try to link scene more coherently such as the woods scene and the use of Trafalgar square, the mirror bubbles and the convex tube mirror. Maybe look at making this some form of disjointed imagery.

- Reflection of cape linking with city scenes, not having the mirror bubbles right before the convex mirror shots.

- For the end of the film, Little Red Riding hood could be consumed by what she views as reality; which is not reality in fact. The sheets surrounding her could engulf her, these might symbolise her imagination and her thought pattern.

LOOK AT AS A GOUP FILM CALLED THE RED SHOES….

Music video for red shoes by Kate bush

Look at the Red Shoes story by the Brothers Grimm.

Film and Space project - brief 05

Film and Space project - brief 05

Began by playing with the idea of a storyboard based on film and space, as a group we came up with an idea based on the way in which different people view and perceive a space. The way in which the way in which aperson deceives a space can be altered by fact

ors around them or by their own changes for example schizophrenia. A schizophrenic sees a place in a distorted view -

Definition

Schizophrenia is a psychotic disorder (or a group of disorders) marked by severely impaired thin

king, emotions, and behaviors. Schizophrenic patients are typically unable to filter sensory stimuli and may have enhan

ced perceptions of sounds, colors, and other features of their environment. Most schizophrenics, if untreated, gradually withdraw from interactions with other people, and lose their ability to take care of personal needs and grooming.

From this we have developed our ideas further; we found that we needed a story to base our ideas around. The story had to be well known for reasons such as the ability to understand what was going on without having to narrate. Also we could distort the original story and the viewer would still understand the basis of what we were aiming to create and show. We chose as a group to use little red riding hood; but to manipulate the story to our needs we rewrote the script however we still kept the story pattern of the little girl, going to her grandmar and the big bad wolf.

These are examples of the storyboard for the red riding script.

19^th November

Yesterday we were checking out locations for filming little red riding hood in the woods. We chose Hampstead heath in the end as it will allows us when filming to get a variety of different shots and affects; due to the changing in height and density of the trees and because of the contour of the land it gave us lots of directions to shoot from. For the filming we will use both moving image and still shots merging them together to form disjointed imagery. This use of disjointed imagery represents the way in which little red riding hood; who is characterized as being schizophrenic, would view her surroundings.

Today we used our city location in Green Park to film little red riding hood in a more industrial built up environment. We took again still and moving images , however we will manipulate these images to better represent how little red riding hood is feeling and what she may be seeing. This allows us to show a different representation of the city and the way in which the space has changed through the eyes of one individual.

Here are examples of some of the shots and angles for the city location.

22nd November

On Friday we spoke as a group with the tutors about what we had done so far with the project. We presented our proposal of basing our 20-minute film clip around the story of little red riding hood. When we presented the film clip of the woods; which we had previously been working on, the comments were constructive stating that the work was good and that we should push ourselves to do better.

We got on to the topic of the story line and weather we could divert further away from the original story eg. When we showed the clip of the forest of little red riding hood being followed through the wood by the wolf, the tutors were impressed with the quality of the work. However the discussion came around to the fact that it was too similar to the original story and maybe we could come up with a more original idea. Challenging what we had already done in to a more twisted idea of what little red riding hood was seeing. How we could show what she and the wolf were feeling at the same time.

Other topics we discussed were the projections of little red riding hoods second flat on to sheets, which are twisted out of shape with the used of cardboard structure.

The shapes created on the cardboard will distort the projected image, creating a disturbed image of a room. The use of the projector and white sheets means we can shift between different rooms without having to use actual furniture, the cardboard can represent the form and position of furniture within the room.

While watching film footage taken by other groups we came across the idea of interrupting the footage with finger blocking the view of some of the screen, or hair blowing across it. This we thought would make the audience feel that they themselves were the wolf and that they were the ones watching little red riding hood on the journey. This might have an interesting affect making the view feel uncomfortable and uneasy about what they felt they were doing.

Other ideas that were discussed were crumbling trees and the idea of entrapment.

Over the weekend we were given “Space and Imagery in Andrei Tarkovsky’s Nostalgia: Notes on a Phenomenology of Architecture” to read. Thrilling as this piece of reading was (not) it was however interesting in some points. Points on which we could take away to include in the development of our film would be changes in intensity of action increasing tension within the film, Ideas of diffusing figures and spaces as well as playing with the tone of colour and tonal value. This would enable us to “abstract the images and weaken the illusion of reality.”

So throughout next week we will further develop the ideas and base of our film and experiment with new methods of filming.