#179: MY TOP TEN FAVE ARCHITECTS

December 1, 2023

The Nancy and Rick Kinder Building at the Museum of Fine Arts, Houston, Texas, by Steven Holl. The architect’s inspiration came from the changing shapes of clouds and the trapezoidal shape of the property. (photo by Richard Barnes)

“Hey Anthony, who is your favorite architect?,” I am often asked.

I might reply, “Can there only be one fave? What is your favorite book or your favorite song?”

upper left: La Pedrera, Barcelona, Spain, by Antoni Gaudi (photo by Erwin Litschauer from Pixabay); upper right: La Muralla Roja in foreground, Xanadu in background, Calp, Spain, by Ricardo Bofill (photo by Lena Polishko on Unsplash); lower left: National Parliament, Bangladesh, by Louis Kahn (photo by Pexels from Pixabay); lower right: Colline Notre Dame du Haut, Ronchamp, France, by Le Corbusier (photo by Ricardo Gomez Angel on Unsplash)

For nearly all, there is no one favorite piece of music. For me, there is no one favorite architect. There are several dozen. But here I try, gathering a mere list of ten, in no particular order. Just a note: My list comprises living architects, so excludes favorites like Antoni Gaudi, Louis Kahn, Le Corbusier, and Ricardo Bofill.

The Nelson-Atkins Museum of Art, Kansas City, Missouri, by Steven Holl. Adjacent to the renovated museum, five enigmatic glass structures deliver various qualities of natural light into the interconnected subterranean galleries. (photo by Andy Ryan)

Steven Holl
Holl possesses an individualistic vision of architecture, where his signature watercolors establishes the conceptual agenda for each project. This New York–based architect blends complex building programs—both new structures as well as additions—with seemingly random sculptural shapes, while applying his mastery of shaping natural light. Time magazine called him “America’s Best Architect” for “buildings that satisfy the spirit as well as the eye.”

Saint Benedict Chapel, Sumvitg, Switzerland, by Peter Zumthor. Impeccably crafted, the leaf-shaped, one-room structure explores a lemniscate, an algebraic, hyperbolic, inverse curve. (photo by Federico Covre)

Peter Zumthor
Often called the “architect’s architect,” there is no one else practicing today so often referred to as a “master” of his craft. Each project from the Swiss architect, the son of a cabinet maker—whether a home, chapel, or museum—is precisely uncompromising, often austere, and elemental, embracing the basics of architecture, e.g., shelter, light, materials. Zumthor suggests, “Architecture is not a vehicle or a symbol for things that do not belong to its essence.”

CCTV, Beijing, China, by Rem Koolhaas. A visionary corporate building instead of the usual and predictable company skyscrapres (photo by Hanson Lu on Unsplash)

Rem Koolhaas
Dutch architect, provocative theorist, prolific author, professor at Harvard, and one-time filmmaker—Koolhaas brings gravitas and intellectualism to his practice. His work is known for its clarity in conceptual thinking, where a simple idea or diagram drives the development of an entire project, whether a house, library, or entire town. Time magazine put him in their top 100 of “The World’s Most Influential People.”

Quinta do Portal Winery, Celeirós do Douro, Spain, by Alvaro Siza. An elegant composition of a modest material palette and minimal moves. (photo by Rui Alves on Unsplash)

Alvaro Siza
Some buildings from this Portugues architect are quiet and minimal, like his Leca Swimming Pools—so integrated into the waterfront that one doesn’t even know where the buildings end and the land begins. Other projects combine invention, and poetry. “Every design,” Siza states, “is a rigorous attempt to capture a concrete moment of a transitory image in all its nuances . . . the more precise they are, the more vulnerable.”

He Art Museum, Shunde, Foshan, Guangdong Province, China, by Tadao Ando. As usual, “less is more.” (photo by Clu Soh on Unsplash)

Tadao Ando
Self-taught Japanese architect started out as a truck driver and professional boxer. Contrasting the delirium of such a past, Ando’s portfolio is the epitome of minimalism, exploring a profound nothingness. Nearly all his projects are composed of primarily two materials. 1) poured-in-place concrete—concrete walls, concrete floors, concrete roofs, and 2) natural light (yes, I view light as a construction material). Though many of his buildings appear to be the similar, celebrities flock to own an Ando design: Beyonce and Jay-Z, Kanye West, Tom Ford, Kim Kardashian, amongst others.

Douglas House, Emmet County, Michigan, by Richard Meier. Restored twice since its 1973 completion, this 3,000-square-foot, waterfront residence is one of the most iconic Modernist homes of recent generations—and added to the National Register of Historic Places. (photo by Scott Frances)

Richard Meier
New York architect Meier (now retired with controversy) claims, “White conventionally has always been seen as a symbol of perfection, of purity and clarity.” He established his design language, for better or for worse, as the one of the most recognizable styles in history—a singular vision and personal brand of Modernism, stark white surfaces, and strict geometries. The formality and strictness in Meier’s work, though rigid and severe for some, provide an oasis of calm for others.

Elbphilharmonie Hamburg, Germany, by Herzog and de Meuron. A new glassy, 2,100-seat concert hall sits upon an 1875-constructed warehouse, rebuilt in 1963. The sweeping roof provides a plaza with views of the docks and city. (photo by Wolfgang Weiser onPixabay)

Herzog & de Meuron
Based in Basel, Switzerland, the partnership of Jacques Herzog and Pierre de Meuron approaches architecture as a deep dive into design philosophy, experimental methods, and technology. They believe their work “can meet the needs of our rapidly and radically changing world.” Each project is a reinvention of their creative process, with a fetishization of form making, textures, patterns, and materials—both traditional and radical.

Musée Atelier Audemars Piguet, Le Brassus, Switzerland, by Bjarke Ingels. This spiraling museum displaying watchmaking history contrasts the company’s traditional 1875 workshop building. (photo by Bjarke Ingels Group)

Bjarke Ingels
Many of Ingels’ projects—bold, exaggerated, and cartoonish—appear to have leapt off the pages of a comic book. In fact, he published a 2009 graphic novel entitled, Yes Is More: An Archicomic on Architectural Evolution. His firm of 700 architects, simply known as BIG, is one of the fastest rising companies in the global marketplace. The Wall Street Journal called this Copenhagen-based architect, “Innovator of the Year” for architecture and “one of the design world’s rising stars.”

Glenstone Museum, Potomac, Maryland, by Thomas Phifer. Mute boxy structures clad in Carderock stone form an introspective campus the combines art, architecture, and landscape. (photo by Anthony Poon)

Thomas Phifer
One of the lesser known names on my list, and not yet a Pritzker Laureate like more than half of my list, Phifer established his Manhattan studio after working for Richard Meier. Whether Phifer’s work comprises the self-proclaimed “light buildings that landed lightly on the land” or Thomas De Monchaux’s description of “a river stone, embedded in the flow of its place,” I would suggest that Mies’ “less is more” is the rule. If ever in the D.C. area, do not miss a visit to the Glenstone Museum.

The Biomuseo, Panama, by Frank Gehry. Leaning away from brand, folding flat planes replace Gehry’s expected curvaceous forms. (photo by Zeluloidea on Pexels)

Frank Gehry
The stunning collisions of steel, glass, and stone from this Canadian-born American has made him the most famous living architect on the planet. Though often accused of aesthetic sameness—a kind of architectural one-liner—the mastery of his design vocabulary never ceases to impress. With the 1997 completion of the Guggenheim Museum in Bilbao, Spain, Gehry’s single building attracted so many visitors to the area that the entire economy of the Basque region improved dramatically.

Along the lines of favorites, here are my favorite buildings in Los Angeles, favorite buildings of all time, and most breathtaking buildings of last year.

#178: THE SUPERNATURAL AND JUST PLAIN WEIRD STUFF

November 10, 2023

Cenotaph for Newton, by Etienne-Louis Boullée (1784)

A common misconception is that architecture strives to be beautiful. The famed 1st century Roman architect, Virtruvius, did proclaim that architecture must have venustas—the Latin term for “beauty.” But for every Mozart seeking beauty, there is a Beethoven pursuing other qualities—challenging ones even. Indeed, some works of architecture are odd, strange, and even supernatural—if such a word can be used to describe a building.

right: Temple of Divination; left: Classicism and Romanticism, by Jean-Jacques Lequeu (circa 1800)

Merriam-Webster defines supernatural as “relating to God or a god, demigod, spirit, or devil,” and “departing from what is usual . . . to transcend the laws of nature.” Below, I describe a few projects that have peaked my interests, that perhaps relate to a demigod, bucking the rules of the expected.

Casa dos Leões, Porto Alegre, Brazil, by Henrique Oliveira (photo by Eduar, from yatzer.com)

18th century French architect, Jean-Jacques Lequeu—alongside colleagues, Claude-Nicolas Ledoux and Etienne-Louis Boullée—offered peculiar visionary designs that, though never constructed, stoked curiosity. On the left, Lequeu offers a river of fire entering a Greek temple, while honey perfume counters the burning odor. On the right, the design of a hunting gate celebrates the spoils of victory, displaying the heads of the hunted and defeated.

In 2009, artist Henrique Oliveira birthed the Casa dos Leões, a parasitic organ-like visitor within a townhouse in Porto Alegre, Brazil. Oliveira comments, “My works may propose a spatial experience, an aesthetic feeling, a language development and many more nominations to refer to the relation it establishes with the viewer.” Just random words. For me, the message—whatever it may be—is one of uneasiness.

Steilneset Memorial to the Victims of Witch Trials, Vardø, Norway, by Peter Zumthor (photo by thisispaper.com)

Perhaps it isn’t just the official title: the Steilneset Memorial to the Victims of Witch Trials. Or not just the experiential results designed by artist Louise Bourgeois and architect Peter Zumthor. The eeriness of this 2011 Norwegian project arrives through its thesis: To commemorate the 1621 trial and execution of 91 individuals suspected of witchcraft.

Conical Intersect, Paris, France, by Gordon Matta-Clark (photo from researchgate.net)

Commenting on the demolition of a building and the destruction of a community, American artist Gordon Matta‐Clark presented an ambitious architectural intervention in 1975. Through excavation and carving, he juxtaposed the history of a location with the recent eviction of the inhabitants—a commentary on memory and powerlessness, origin and futures unclaimed.

Apartment, Vienna, Austria, by Adolf Loos (photo from vivanht.com)

Valley, Netherlands, Amsterdam, by MVRDV (photo by Marina Poliukhovich on Unsplash)

Austrian architect and theorist, Adolf Loos, authored this 1903 room of intimacy, luxurious, and whiteness for his wife, Lina. He was 32, and she was 19. The angora sheepskin bed skirt that becomes the floor is sensual even erotic, but also bizarre even creepy.

It’s as if the conventional steel and glass high-rises dissolved away revealing 200 quirky cantilevered apartments, like a residential canyon carved into corporate masses. Located in Amsterdam, the 2022 design of three towers includes apartments, offices, restaurant, and cultural facilities—as well as contradiction and the unconventional.

Petra, Jordan (photo by Dimitris Vetsikas onPixabay)

Petra, the surreal and archaeological city in present-day southern Jordan, holds a rare accolade as one of the Seven Wonders of the World. A town chiseled into the sandstone cliffs, Petra displays the advancements of the Nabataean Arabs, a civilization dating back 2000 years ago. The city was not constructed by traditional building methods of adding materials one on top of another. Rather, Petra was created from cutting and removing stone sections of a mountain—construction through subtraction.

Twisted, by Patrick Dougherty, West Palm Beach, Florida (photo from sun-sentinel.com)

North Carolina-based sculptor, Patrick Dougherty, works with tree branches and twigs as a painter would acrylics and oils. Not just mind-boggling, multi-story bird nests, the projects are temporal like much in nature, intended to make a statement then dissolve and disappear.

Setenil de las Bodegas, Southern Spain (photo by artsartistsartwork)

Known as the Cave Village of Spain, this southern town comprises whitewashed homes constructed into the surrounding cliffs. The earthly masses hovering over the residences become an omnipotent daily presence to confront, a physical burden to accept. Most would build a city atop a mountain, or within like Petra, but not underneath.

Back to music—adjectives of Mozart’s music might be delightful, lyrical, and exquisite. Whereas for Beethoven: intimidating, discordant, and aggressive. And so it might be with some architecture.

#158: LOS ANGELES BAKER’S DOZEN

September 16, 2022

(photo by Julius Schulman)

As a Los Angeles architect, I am often asked, “What are your favorite buildings in the city?” Considering houses, concert halls, schools, temples—it is difficult to answer. There are so many great works of architecture. To have parameters, I stuck to the City of Los Angeles. I did not include the many treasures in adjacent cities like West Hollywood, Santa Monica, Beverly Hills, etc.. Also, I couldn’t decide on the typical “top ten,” like I have done each year (2019, 2020, and 2021). So in no particular order, here you go: a Baker’s Dozen.

(photo by Juan Carlos Becerra on Unsplash)

1: In the evening, the John Ferraro Building, commonly known as the LADWP Headquarters, glows like a beacon of downtown. More than a 1960s office building, architect A. C. Martin created an iconic structure metaphoric of the department’s command over water and power. Floating in a massive reflecting pond that hovers over the parking, the building captures one end of the city’s grand axis that aligns the Music Center and Grand Park, and terminating at City Hall.

2: A city-within-a-city, Emerson College by Morphosis offers a collegiate identity unlike anything before. Within 107,000 square feet, two large sinuous structures sit within a ten-story, frame-like building—providing housing for 190 students, educational spaces, production labs, and offices. The technology of computational scripting guided the patterns of the aluminum sunscreens and organic building shapes.

3: Few homes capture the zeitgeist of the Mid-Century Modern movement alongside the family life of the homeowners. Husband and wife design giants, Charles and Ray Eames, created this Case Study House No. 8, simply called the Eames House, to serve as their residence, work space, and design laboratory. The beauty of the architecture stems from the simplicity of form, lightness on the site, and prefabricated materials. Each year, 20,000 design fanatics tour this National Historic Landmark.

4: Rafael Moneo Arquitecto graces the urban landscape with his Cathedral of Our Lady of the Angels. Serving as the mother church for the Archdiocese of Los Angeles, this design explores a myriad of tilted lines (an avoidance of any right angles), solid concrete walls several feet thick, and the dramatic control of light and shadows—delivering a complex composition of tension/calm, grandeur/intimacy, and mystery/faith.

5: The 1892 landmark Bradbury Building by George Wyman and Sumner Hunt is a classic masterpiece of traditional materials, ornate details, and sun and air. Appearing in numerous works of fiction, movies, television, and music videos, the five-story office building was honored as a National Historic Landmark in 1977, Los Angeles’ oldest landmarked building—today restored to perfection. The skylit atrium—casting intricate shadows of ironwork against surfaces of tile, brick, and terracotta—delivers the beating heart of the building.

6: The existing 1953 Getty Villa—a passable recreation of a 1000 A.D. Roman house—pales in comparison to the 2006 addition by Machado Silvetti. For this museum dedicated to the classical arts, the contemporary renovations and surgical insertions offer a contrasting dialogue of old and new , of history and the future. Like a palimpsest, the layers upon layers of materials, exquisite details upon exquisite details border on excessively articulate, yet reaches the sublime.

7: Frank Lloyd Wright’s Hollyhock House was the first American work of contemporary design added to the UNESCO World Heritage List. Sometimes referred to as Mayan Revival, the ambitious courtyard house of 1921 comprises an intricate balance of split level floor plates, roof terraces, and steps throughout. The hollyhock—the favorite flower of the owner and oil heiress, Aline Barnsdall—drives the architectural patterns, decorative details, and stained glass windows.

8: Upon completion in 1988, the Pavilion for Japanese Art baffled visitors. The enigmatic 32,000-square-foot building by Bruce Goff—a bizarre combination of sweeping roof forms, cylindrical towers, tusk-like beams, green stucco, and translucent windows—divided critics. Was the work visionary or grotesque? Master architect Peter Zumthor has decided the Pavilion’s worth: His master plan for the campus of LACMA (Los Angeles County Museum of Art), has already demolished nearly all existing structures. Goff’s building will remain.

9: The honeycomb exterior skin of The Broad captivates passersby on this busy downtown street. An instant architectural icon and Instagram-able moment, this three-story museum by Diller Scofidio + Renfro presents a porous wrapper the architects call the “veil”—composed of 2,500 rhomboidal forms of fiberglass-reinforced concrete. Within this “veil” sits the “vault”—the concrete core of the museum housing laboratories, offices, and the massive collections of art not currently on exhibit.

10: The Stahl House, or to many, Case Study House No. 22, is one of the most famous homes in the history of the architecture world. Designed by Pierre Koenig and made known by Julius Shulman, considered the greatest architectural photographer of all time, the soaring hilltop residence made the 2007 AIA list of “America’s Favorite Architecture.” My one criticism is this: The kids have to walk through the master bedroom to get to their two bedrooms. Perhaps an exploration of domesticity?

11. Both a work of art and architecture. Sabato Rodia, Los Angeles’ own Antoni Gaudi, constructed the Watts Towers with few tools and mostly his bare hands. From 1921 to 1954, this Italian immigrant construction worker toyed with concrete, rebar, wire, and tile—even ceramics, seashells, and broken bottles. Recognized with honors over time, the project was designated a National Historic Landmark, and one of only nine folk art sites listed in the National Register of Historic Places in Los Angeles.

12. A master class in late Mid-Century Modernism, John Lautner gave us the Sheats-Goldstein Residence, a daring home set into the ledge of a sandstone hill. The intimacy of the arrival counters the living room’s explosive embrace with the city view and surrounding nature. The geometry of triangles upon triangles, a revolutionary concrete roof structure, and endless glass walls have captivated pop culture with cameos in films from Charlie’s Angels to The Big Lebowski.

13. No list of local great buildings can exclude Frank Gehry’s almighty Walt Disney Concert Hall. Though the architect had to travel to Bilbao, Spain to prove he is the most famous architect of our time, though the Disney Concert Hall took 15 years to complete and resulted in 300% over budget, the project stands as prominent as the Eiffel Tower, the Louvre, or the Sydney Opera House.

As mentioned, there are so many iconic masterpieces just outside of Los Angeles. Here are half a dozen. And for my favorite buildings of all time, here.

top left: Creative Artists Agency, Beverly Hills, by I.M. Pei and Associates (photo from techooficespaces.com); top middle: Prada Epicenter, Beverly Hills, by OMA (photo by Anthony Poon); top right: Horatio Court, Santa Monica, by Irving Gill (photo by smallatlarge.com); bottom left: Broad Beach Residence, Malibu, by Michael Maltzman Architecture, Inc. (photo from mattconstruction.com); bottom middle: Schindler House, West Hollywood, by Rudolf Schindler (photo from makcenter.org); bottom right: Art Center College, Pasadena, by Craig Ellwood (photo by u/archineering)

#149: NO BED OF ROSES, PART 4 OF 4: CHALLENGES OF THE HUMAN CONDITION

March 11, 2022

Luma Arles Tower, Arles, France, by Frank Gehry (photo by Baptiste Buisson on Unsplash)

“Host Jeff Haber shares conversations with interesting people from all walks of life, using a positive, uplifting and funny approach,” from the podcast series, No Bed of Roses, brought to you by Kenxus. Edited excerpts below are from the full podcast of episode #1030. Take a look at part 1, part 2, and part 3.

Jeff Haber: Who’s out there that is inspiring you with what they’re doing? Is there anybody that catches your eye?

Bruder Klaus Field Chapel, Mechernich, Germany, by Peter Zumthor (photo by Lisa Therese on Unsplash)

Anthony Poon: There are a lot of influential people. I mean, Frank Gehry—I don’t know who doesn’t admire his work as an architect, artist, sculptor. Peter Zumthor, who is the architect of the new LACMA, the county museum under construction–he’s a Swiss architect, and everything he does is so poetic, so simple and elemental. One of my professors from Harvard is Rem Koolhaas, a Dutch architect who does amazing things, so creative, how he rethinks what the client wants, whether it’s a corporate headquarters or a house. He delivers a unique solution every time.

But I also look for inspiration in people that aren’t architects, to inspire my architecture. As an example, I love the music of Thelonious Monk. His music is offbeat; it’s sometimes discordant, sometimes rhythmically off. But at the same time, it’s beautiful, improvisational. I listen and ask, “How can that inspire what I’m writing, what I’m painting, or what building I’m designing?”

Jeff: Is there a project that you have where you would walk us through and say, “See this section here, I was listening to this for Monk, or this was inspired by something.” Are there pieces of projects that you could directly relate to a piece of music?

Courtyard of Greenman Elementary School, Aurora, Illinois, by Anthony Poon (w/ A4E and Cordogan, Clark & Associates, photo by George Lambros)

Anthony: A lot of times the relationship to music is abstract. It’s more of a conceptual influence. But there is a school that we designed just outside of Chicago in the city of Aurora. It’s an elementary school with a focus on the performing arts. I took a piece of music by Johann Sebastian Bach, one of his piano Partitas, and studied the score and notations. That helped me lay out the window patterns, inspired me to create a play of window shapes and bays projecting off the brick. The building looks very musical as it rolls down the street. Someone who doesn’t see this metaphor, it’s okay. All they might see is a very interesting building. Or someone might say, “I like how the scale has been broken down—less institutional looking and suits the size of the one- and two-story homes across the street.” The result is there, and people can read into what they will. I know from my standpoint, it started with Bach.

Greenman Elementary School and music of J.S. Bach (drawing by Anthony Poon w/ A4E)

Jeff: Is there a space that you have experienced, that has evoked very strong emotion for you? I’ve been into spaces that have moved me to tears.

Barcelona Pavilion, Spain, by Mies van der Rohe (photo by Tomas Val on Unsplash)

Anthony: Yes, I would say, “yes!”—plenty of times through travels and backpacking through Europe, visiting some of the historic churches, museums, and sculpture gardens—just walking into the Pantheon, or some of the chapels in Rome. A specific example, which may not be an obvious one is in Barcelona. There’s a pavilion, often called the Barcelona Pavilion or the German Pavilion, designed by Mies van der Rohe. It’s just this elegant marble, steel and glass composition, not much bigger than a small house, but it’s so perfectly put together. It was groundbreaking in the way it defined space and didn’t define space, the way you didn’t know whether you’re inside or outside. It’s such a pure piece of architecture.

Jeff: This is part of the human condition. We can be reduced to very base human instincts, and design can make us soar. When I worked as an actor, I had a teacher tell me, “You’re a conduit for something much bigger than you.” I don’t know if you feel that there’s a force bigger greater than you that is just channeling through you or not, as the artist that you are. Man, we have that ability to channel that energy. Design can help elevate all of us. Do you feel like you’ve connected with something bigger? Is there something to it? I might just puffing this up, or…?

Anthony: We definitely acknowledge something bigger. Our thinking is that our skills and talents are used to challenge the human spirit. And if it’s a temple, we’re there to enliven the human spirit. If it’s a school, we’re there the counter the children and say, “Is this the best way to socialize and learn?” We’re constantly asking these bigger picture questions because I think whatever skills or talents that I have, they’re to be used, tested, to take risks, and see if they can be offered to challenge the status quo.

#127: NEW MASTERS OF THE TRADE

December 4, 2020

Ashen Cabin, Ithaca, New York, by HANNAH (photos by Andy Chen, HANNAH)

Before the advent of technology, architects used tools that supported their Old School activities, like sketching and making physical models—all done by hand. Today, items such as a T-square, circle template, or X-acto blade have been replaced by tools of our digital age, for example, Revit and 3D printing. Yet, most of our leading designers—consider the practicing Pritzker Prize laureates—are only familiar with their old tools of the trade. Limited even.

Prada Foundation, Milan, Italy, by Rem Koolhaas (photo by Ricardo Gomez Angel on Unsplash)

Though such famous individuals have a staff engaging current technology on a daily basis, I suspect these big name architects do not personally design with apps like 3ds Max and Maxwell. I doubt Rem Koolhaas, Frank Gehry, and Peter Zumthor are writing parametric algorithms on their laptops, or creating virtual structures through Building Information Modeling. These architects probably still use pencil on paper.

Jay Pritzker Pavilion, Chicago, Illinois, by Frank Gehry (photo by Yana Marudova on Unsplash)

Meaning, if one person starts the process and others continue it, there is a disconnect between the original concept and its development. The principal architect maybe the creator at the start, but for the remainder of the process, he is but a critic, watching others create in his place, fleshing out ideas with the highest technology available.

Eventually, this disconnect will be gone, and the new processes will generate different results. The 30-something architect, who uses Grasshopper and Viz Render, will soon become the industry veteran. Then, the same mind and hands will work on the project from inception to completion. No disconnect. These future thought leaders will find no need to have others continue in lieu of an old-guy-boss lacking certain industry standard skills.

What will the industry and the resulting architect look like when these younger architects, who are facile in all the current tools of today, become the world famous designers? When the disconnect is gone, structures will be designed differently, constructed differently, and look different in the end. There will be notions, materials, and methods not even thought of yet.

Ashen Cabin, Ithaca, New York, by HANNAH (photo and drawing by Andy Chen, HANNAH)

This recently completed house in Ithaca, New York, is a stellar work of sustainable thinking, digital design, and fabrication technologies. Using 3D scanning and robotics, the architects transformed a material typically wasted—infested Ash wood—into an exciting building material. Readily available, affordable, and green. Other innovations include the 3D-printed, concrete, feet-like base of the cabin.

Cork House, Berkshire, England, by Matthew Barnett Howland, Dido Milne, and Oliver Wilton (photos by Matthew Barnett Howland, Dido Milne, and Oliver Wilton)

Another example of new minds and methods is the Cork House in Berkshire, England. The architectural pioneers offered a design of 1,268 cork blocks sustainably harvested from the bark of a cork oak tree. The blocks are intended to be efficiently dismantled and reused—or recycled. Both walls and roof comprise this single bio-renewable material. With a structure of engineered timber, the cork modules require no glue or mortar, while providing insulation to the house.

Merriam-Webster defines “brave new world” as “a future world, situation, or development.”

#118: THE GIFTERS PODCAST, PART 1 OF 2: ARTS, ARCHITECTURE, AND AUDIENCE

May 22, 2020

Jurupa K-8 School, Jurupa Unified School District, Riverside, California, by Anthony Poon (w/ A4E)

I am pleased to be a guest on Christopher Kai’s podcast, The Gifters: Your Story is a Gift to the World (episode 209). As a global speaker, author, and executive coach, Mr. Kai speaks to Fortune 100 companies, from Google to New York Life, from American Express to Merrill Lynch. His podcast “shares inspiring stories from captivating entrepreneurs and extraordinary individuals who are changing the world.” Excerpts below.

Christopher Kai (photo from bookingworldspeakers.com)

Christopher Kai: Our guest today is Anthony Poon. He’s an architect and musician and author and an artist. Anthony, thanks so much for being here, where your story is a gift to the world. I’ve met a lot of people in my life, but I’ve never met a guy who’s a musician, author, artist, and architect. How do you have all these really cool interests? What started it all? How old were you when you had an inkling of some of your talents?

Anthony Poon: It started with music. In my mind, all of these four things are connected. My goal at an early age was to be a concert pianist. I trained and I practiced. As I got older, I started to think more practically about a career, and I’ve always enjoyed design and architecture.

There was a point of my life where I had to pick one path or the other. I was looking at two grad school applications, Juilliard for music vs. Harvard for architecture. I think the practicality of my Asian parents had me think, well, I better be an architect, because the odds are better for me to support myself, than being a classical pianist.

Me at St. Paul’s, Rancho Palos Verdes, California (photo by Grant Bozigian)

I chose architecture. The great thing is that running a design company and being an entrepreneur still gives me the freedom to play piano, to write music, to teach, and even perform a little. I don’t think it would have worked the other way around where I am a concert pianist and trying to operate an architecture office.

The overlap in all of it is that my work requires an audience, whether I’m playing music for myself, for a small group, or for a large venue. Architecture too requires an audience. It requires visitors and users. When I author a book, I’m counting on there being a reader. When I do my mixed-media art, it also requires an audience. They are all forms of communication for me to share stories with others.

Alleyway, 30” x 42”, March 10, 2019, by Anthony Poon

Christopher: That’s inspiring. My business is based in L.A., but right now I’m currently in Miami, and one of the most inspiring architects here is a woman named Zaha Hadid. For you, who inspires you as an architect, and what can we learn as entrepreneurs? Primarily our audience are entrepreneurs, but I’m all about how we can learn from different people and different professions. Who’s one architect that you admire, and what’s one thing that you feel that you’ve learned as an architect that you can perhaps share with our listeners?

Anthony: The architect that comes to mind is Peter Zumthor. He is a Swiss architect. He’s currently designing the new controversial Los Angeles County Museum of Art. I admire him because he has crafted his role as an artist within the profession of architecture. He stays focused on what his philosophy is, and chooses only a few special projects every couple of years to work on—and therefore giving the projects his most inspired ideas. So Peter Zumthor, for those who don’t know—his work is beautiful. It’s elemental, timeless, and shows a lot of ideas around minimalism, abstraction, and materiality.

Proposed Los Angeles County Museum of Art, California, by Peter Zumthor (rendering from LA Times)

Center for Marine Biotechnology and Biomedicine Concept, University of California San Diego, by Anthony Poon (w/ HHPA, rendering by Douglas Jamieson)

Christopher: Do you feel some of your work is similar to that in terms of minimalistic and quality? What are some things that you’ve gleaned from him in your own practice as an architect?

Anthony: Our practice is a different. I think Zumthor can do what he does because he works in a small village in Switzerland. We work in the very vibrant communities of Southern California. Every project we take on is unique, and our project types are diverse. We do residential, commercial, retail, and restaurants. We also do schools and religious projects. Quite a broad mix. We think of all of our projects as telling a story, the story of the client, the client’s successes, maybe battle scars even, their vision for the company, or for an educational institution. This way our projects are full of content, material, and texture. Some make reference to history, some reference maybe a client’s most favorite piece of music or favorite poem. Our portfolio and the output is quite diverse, but intentionally so. (Stay tuned for part 2.)

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