Tag Archives: MICHELANGELO

#147: TRIBUTE: RICARDO BOFILL (1939-2022) AND THE ARCHITECTURE OF THE FANTASTICAL

January 28, 2022

La Mazanera, Calpe, Alicante, Spain (photo from ricarobofill.com)

A titan amongst us architects has left this world: Ricardo Bofill. In the zeitgeist of art, design, and individualism, it feels as if Atlas finally shrugged.

In 1986 New York City (here and here) I, a young architect bravely stomping the granite cobblestones of SoHo streets, came across one of those suspicious card tables selling random artifacts. The seller and his temporary setting, appearing ready to pack up and run in an instant, had me wonder if his goods were stolen, fake, or both.

Les Espaces D’Abraxas, Marne-la-Valle, France (photo by Ricardo Bofill)

A large coffee table book, 12 inches square and one-inch thick, stood out from the scatter of tarnished jewelry, etched dishware, and stacks of art books, old postcard, and dog-leafed magazines. My eye caught, Ricardo Bofill: Taller De Arquitectura, published by the then-giant Rizzoli. I did not know this architect, yet I was drawn to the cover image of a fantastical project (pictured above). I negotiated with the seller a price that fit the few crumpled dollars I had in my big boy pants.

La Muralla Roja, Manzanera, Calpe, Spain, by Ricardo Bofill (photo by Paul C Lee from Pixabay)

Back at my third-floor, walk-up, Chelsea studio, I devoured the architecture of Barcelona-born Ricardo Bofill—ambitious, utopian, revolutionary. Even controversial. Sometimes called dystopic. His global fame rose in the 70s and 80s with housing designs in France, several blocks large for neighborhoods like Marne-la-Valle. But much of his visionary creations in Spain preceded this recognition, and such earlier work established Bofill as an imaginary and puzzling thinker, akin to countryman, Antoni Gaudi.

El Parque de La Marca Hispanica, Le Perthus, Franco-Spanish border (photo by Ricardo Bofill)

His company name, Taller de Arquitectura, literally meant “architecture workshop.” This collaborative enclave of talent explored works of fantasy, concrete classicism, hyper Post-Modernism, organic forms, unprecedented sculptural forms and colors, and prefab concrete system construction—and did so beyond Spain and France, contributing to the urban fabric of the United States, Russia, India, Africa, and China.

Much like “The Factory,” a culture and workplace of Andy Warhol’s making, Taller de Arquitectura was a cross disciplinary atelier comprising skills beyond architects, interior designers, and contractors, to include psychiatrists, philosophers, mathematicians, and poets. Akin to the makeup of his personnel, Bofill’s influences were eclectic: Wright, Barragan, Kahn, Aalto, Archigram, Japanese Metabolists, as well as artists like de Chirico, Escher, and Magritte. These lists of design references, geography, various philosophies, alongside his 1,000 completed projects indicate a man beyond measure.

Interior of Walden 7, Sant Just Desvern, Barcelona, Spain (photo by Ricardo Bofill)

Bofill’s influence spanned across pop culture, films, TV shows, and video games, as his work is seen in movies such as The Hunger Games and in TV like Westworld and the recent Korean hit, Squid Game. In 1975, the President of France, Valéry Giscard d’Estaing, labeled Bofill, “the greatest architect in the world,” later embellishing, “the greatest architect since Michelangelo.”

The Sanctuary of Meritxell, Andorra (photo by Ricardo Bofill)

Few architects have established themselves as an artist with such heroic and audacious ideas—drawings that leap out from the pages of Bofill’s sketchbook into the context of major cities as iconic and colossal built work. His courage and creativity will be missed. Like his 30-silo cement factory turned headquarters and home, Ricard Bofill saw the world differently, shaped it to his will, and left monuments scattered around the globe for the rest of us to be humbled.

The adaptive reuse of an abandoned, turn-of-the-century, cement factory. La Fabrica, Sant Just Desvern, Barcelona, Spain (photo from thisiscolossal.com)

#94: BEETHOVEN’S TENTH: IN SEARCH OF PERFECTION

January 4, 2019

Ceiling of the Sistine Chapel, Rome, Italy, by Michelangelo, 1512

If Ludwig van Beethoven (here, here and here) composed a tenth symphony, would he have changed the world? Nearly all classical aficionados agree that Beethoven’s Ninth, his last symphony, is a perfect work of music. My intent of a ‘Beethoven’s Tenth’ is to ask this: What is beyond perfection?

What qualifies a creative work to be perfect? What defines a definitive work—a creation that ends the discussion, is agreed upon as the best, and even surpasses its own genre?

Beethoven 390, by Andy Warhol, 1987

The Ninth Symphony is not just music, just as Joyce’s Ulysses is not just a book, Michelangelo’s Sistine Chapel not just a painting, or Rodin’s The Thinker not just a sculpture.

Architecturally, there are projects throughout history that have become a definitive work of its building type. Here are just a few from each category.

upper left: Empire State Building, New York, New York (photo by Kit Suman on Unsplash); upper right: Notre Dame du Haut, Ronchamp, France (photo from blog.massengale.com); lower left: Trans World Airlines Flight Center, New York, New York (photo from mimoa.eu); lower right: Taj Mahal, Agra, India (photo by Rowan Heuvel on Unsplash)

Skyscraper: Empire State Building, New York, New York, by Shreve, Lamb & Harmon, 1931

Airport: Trans World Airlines Flight Center, New York, New York, by Eero Saarinen, 1962

Chapel: Notre Dame du Haut, Ronchamp, France, by Le Corbusier, 1955

Mausoleum: Taj Mahal, Agra, India, by Ustad Ahmad Lahauri and others, 1632

Temple: Pantheon, Rome, Italy, by Apollodorus of Damascus and others, 126 AD

House: Falling Water, Mill Run, Pennsylvania, Frank Lloyd Wright, 1935

Concert hall: Sydney Opera House, Australia, Jorn Utzon, 1973

right: Pantheon, Rome, Italy (photo by Lode Lagrainge on Unsplash); upper right: Falling Water, Mill Run, Pennsylvania (photo by Poon Design); lower right: Sydney Opera House, Australia (photo by Photoholgic on Unsplash)

These projects have evolved far beyond being a mere building. I am speaking of the monument. Similarly, Aretha Franklin’s Respect surpasses its label of pop song, to become a beloved anthem.

The judge of whether a work of art is a masterpiece or merely something wonderful (which is nothing to complain about) is time. The test of time proves that an idea, whether a building, a musical or a novel, will be more than something attractive or intriguing. Most great works, though accepted as incredible on day one, are rarely thought of as a perfect and ideal creative composition, until years, decades and even generations have honored it, as is the Bradbury Building. When completed, the Eiffel Tower was considered a disastrous work of architecture, protested by all to be demolished. Over time, it has become a world monument of beauty and grace.

Though beloved, this office buildings is not a work of art, Transamerica Pyramid, San Francisco, California (photo by Zahid Lilani from Pixabay)

But works of excellence are not inherently perfect. We are all judges and we all have our opinions. San Francisco’s Transamerica Pyramid is considered by most observers to be the iconic San Francisco skyscraper, adored and honored by all. Yet, there isn’t a university architectural professor or notable architectural writer who will give this project any attention. They will claim such a skyscraper to be a trite design, pandering to the lowest common denominator.

In the world of perfect creations—imagination, dreams and visions collide to generate a sensation unlike any other heroic artistic effort. When is that gift of talent given to a mere artist that might align himself with the heavens and the angels? Beethoven, this furious artist only wrote nine symphonies. Nine, only nine.

#92: NOT JUST FOR KIDS: THE ART OF COMIC BOOKS

November 23, 2018

The New Mutants, by Bill Sienkiewicz

(On November 12, 2018, we lost a super hero. In memory of Stan Lee, 1922 – 2018.)

No longer targeting an adolescent male audience, comic books have become more complex and far reaching. Some comics, known as “graphic novels,” highlight the quality of the writing—even honored with the Pulitzer Prize. Alongside the award-winning stories, the artwork of comic books have evolved from the crude cartoons of early comic strips found in the back pages of the newspaper. Comic book illustration has advanced to the level of art. As in fine art, as in Michelangelo and Da Vinci.

And why?

The Avengers, by Jack Kirby

The classic art form of comics arguably started with the giants of the 50’s and 60’s, Jack Kirby and Steve Ditko. Their line work was crisp and clear. Though graphically modest, the art was expressive. The colors were flat, but boldly captured movement and energy in two dimensions. In part due to the limits of rudimental printing, early comic book artists were forced to be thoughtful and efficient. The results brightly portrayed the optimism of the generation.

left: Spider-Man and Mysterio, by Steve Ditko; middle: Iron Man, by John Romita; right: Iron Fist, by John Brynes

From the late 60’s to the 80’s, John Romita added tonality and detail. Influenced by the world of Pop Art, abstract graphics enhanced the drama of a scene. Later, ground breaking artist, John Byrnes, continued the study of graphic design and narrative structure, literally breaking out of the typical paneled grid of comic book pages. Note the revolutionary full page art of Iron Fist, and how the smaller insets exhibit the fist of our hero transforming to iron, alongside the oddly shaped boxes of commentary. As with the Pop Art movement, irony and criticism entered the pictorial lexicon, representing a growing interest for originality and a fresh look at old things.

Batman and Robin, by Bill Sprang

In studying the development of Batman over the generations, the simplicity and naivety of pioneer Dick Sprang’s Batman from the 40’s evolved to the heavy use of black ink from Neal Adams three decades later. In Frank Miller’s seminal 1986 release of The Dark Knight Returns, we confront the twisted representation of our gritty anti-hero, whose shadowy presence is barely contained within the limits of the physical page. From innocence to dark forces, graphic tools displayed our weariness in celebrating so-called virtuous heroes.

Batman, left: by Neil Adams; right: by Frank Miller

Testing further visual limits, Miller takes an abstract pictorial approach, reducing Superman and Batman to merely cinematic silhouettes. Yet through this graphic austerity, the carefully composed and detailed postures imply the entire story. Perhaps our brains are so filled these days with data, emotions and retorts, that a mere gesture can cause our bodies to generate complex reactions.

Superman and Batman, by Frank Miller

My all-time favorite, Bill Sienkiewicz, transforms the visuals of comics to the highest level—as a classical painter would, as a mixed-media artist would. For the past three decades, Sienkiewicz captured emotional and psychological content in the most imaginative of techniques. In this Moon Knight cover, note how the villainess in red, intentionally omitting her body’s outline, becomes the entire background of evil, or the cover drawing that is 98% minimalist black.

Moon Knight, by Bill Sienkiewicz

Going further, The New Mutants cover illustrates Sienkiewicz’s interest in mixed-media collage, expressing even the tape that attaches the scraps of paper. Doing away with the slickness of illustration now offered by digital means, he reverses his approach to show an honest and revealing snapshot of process and composition.

By Bill Sienkiewicz, left: The New Mutants; right: Elecktra

Finally, Sienkiewicz’s beloved assassin, Elektra, is treated with the skill, vision and artistry on par with any generation’s most prominent creative geniuses. With some illustrators, we have reached the bleakest and most dense part of our souls. Sienkiewicz and other innovative artists reached deep into murky places and offered beauty, instead of despair.

Is it so simple to say there is a linear path from the innocence and optimism of early generations to the difficulties and sarcasm of later generations, from oppressing nightfall to triumphant invention? If comic book art and the methods of artistic process and reproduction represent the development of the human condition, than I utter the legendary phrase by the father of comic books, Stan Lee, “Nuff Said!”

#64: WANNA HIRE AN ARCHITECT?

June 9, 2017

Los Angeles Mixed-Use Building, by Poon Design

After interviewing your architectural candidates, hire one based on character. Know that the connection between client and architect could be a relationship of many years. I am blessed with repeat clients that appear to like me, as well as find me qualified as their design expert. Such relationships last more than just a few years; they can last a lifetime.

You will want to hire an architect that you actually enjoy being in his/her company, that you will be excited to come to their office each week to see the latest ideas—and to converse not just about your project, but perhaps, a recent weekend of skiing.

Client meetings, upper left: Alta Verde Group (photo by Poon Design); upper right: Buddhist Retreat Center (photo by Bryan Bethem); lower left: PayPal / eBay (photo by Faran Najafi); Ginza Onodera (photo by Anthony Poon)
Client meetings, upper left: Alta Verde Group (photo by Poon Design); upper right: Buddhist Retreat Center (photo by Bryan Bethem); lower left: PayPal / eBay (photo by Faran Najafi); Ginza Onodera (photo by Anthony Poon)

I am not brushing aside credentials, experience or expertise. I assume that your top three candidates all went to a good school, been published extensively, hold many awards, have a license and insurance, and references check out. But have all three displayed enthusiasm for your project?

Los Angeles Mixed-Use Building, by Poon Design (rendering by Niloo Hosseini)
Los Angeles Mixed-Use Building, by Poon Design (rendering by Niloo Hosseini)

The portfolio: Pretty pictures can say a lot. You will probably not see the perfect solution for your project in the architect’s portfolio, since each assignment is different. But make sure that you see themes that peak your interests and stretch your imagination.

Poon Design (photo by Poon Design)
Poon Design (photo by Poon Design)

How can you decide between three beautiful portfolios? How can you decide between the degree from Harvard, SCI-Arc or Berkeley? What is more relevant: a dozen AIA awards or a dozen magazine interviews? Does it matter whether the office is staffed with five architects or fifty? Five might be too mom-pop, but you will get full Principal attention. Fifty might have horsepower, but it could mean you are getting a team B or C, and paying for a lot of overhead.

Select the person that compliments your style of working and communication. A sense of humor too. In simple terms, find someone that you like. Then apply the criteria to the architect’s team: project manager, project architects, job captains, perhaps even the office assistant that greets your weekly call with enthusiasm.

Poon Design (photo by Poon Design)
Poon Design (photo by Poon Design)

I have heard of many clients who hate their architect, but they feel they have hired a “genius,” and so, will put up with the unreturned calls, project delays and arrogance. In only a few situations would I find the requirement for tolerance and patience worth the reward? Perhaps, the client has truly hired the greatest genius in the world since Michelangelo. And here, even I might accept personal discontent, so as to touch the shroud of someone so famous.

But, really? I would argue that there are other architects that have equal talent and a national reputation,

For one of our gazillion dollar estates that we designed, our client hired a celebrated interior decorator. By contract, this diva prohibited the client from ever calling the decorator directly. And that only the decorator can call the client. Though the client gave this situation a try for a year, so as to hopefully have greatness for the project, this fancy decorator was fired from the job—for unprofessionalism, egotism and ridiculousness.

© Poon Design Inc.