August 19, 2014 § Leave a comment
…and looking forward to the academic year. I’m honored to be directing ISU’s graduate program in architecture this year–we have a record enrollment, with more students, more overseas students, and students from a wider variety of countries than ever before thanks to the work of my predecessor, Jason Alread. And we have a killer lineup of studio critics and seminar leaders. It’s looking like a great year ahead.
Not to mention a full raft of lectures. I’ll start the Fall off with ISU’s annual Premiere lecture on Friday, 5 September at (about) 5:30. I’ll be talking about my Nervi research, and showing many never-before-seen drawings from the archives and new visualizations that I put together while in Rome.
The next week, I’ll be giving a lunch lecture at the AIA South Dakota annual convention in Sioux Falls on 11 Sept., looking at the midwestern genesis of Chicago skyscrapers–many thanks to ISU alum Catherine Dekkenga for the invite. From there it’s off to Brasilia for the annual International Association for Shell and Spatial Structures meeting–there will be a session on historic shell structures, and I’ll be presenting more Nervi–and enjoying the chance to listen to my colleague, Rob Whitehead, expound on Saarinen.
And there are two public Chicago events in the works–one at IIT on 29 October and the other at the Art Institute with Robert Bruegmann on 4 November. Details to follow.
In between all of which…Comprehensive Design goes to Chicago this year. Much more on that to come…
July 31, 2014 § 1 Comment
Very honored to be asked to give the Department of Architecture’s annual Premiere Lecture, which will be part of our traditional convocation to start the new academic year.
This year’s lecture series is on the theme of “spatial geographies,” and while that’s not my usual cup of tea, I’ll try to show how my Nervi research reveals his work to be intimately tied to its region through production and labor. Titled “Beauty’s Rigor: Patterns of Production in the Work of Pier Luigi Nervi,” the lecture will feature plenty of previously unpublished construction photographs and drawings, as well as new diagrams and visualizations from my fellowship this past year.
Premiere this year will be September 5th from 4:30-7:00 in Kocimski Auditorium. Opening remarks and awards begin at 4:30, my lecture will start between 5:45 and 6:00, and there will be an exhibit of this year’s (amazing) Rome Program work following.
Hope to see lots of alumni, colleagues, friends, etc. there…
July 24, 2014 § 4 Comments
So, this has been the cause celebre in Chicago’s architectural blogosphere the last couple of months. I’ve enjoyed the snark–in particular Blair Kamin’s takedown of the “five-letter ego trip,” and the random Curbed commenter who referred to it as the “Trump Stamp.” That, I think, is now its official name.
Trump has a long history of getting the graphics utterly wrong–witness the bronze Rockwell Bold on New York’s Trump Tower, a font somewhere just above Copperplate in its subtlety. And this one is no exception. Critics and even Mayor Emanuel have complained about just how tacky the thing looks. The position of the sign, at the lower mechanical floor, makes the building look like its pants have fallen down a bit, drawing your eyes to the lower third when what you really want to do is to follow the building’s vertical lines and massing to the (very elegant) top.
But why, exactly, is the sign itself so bad? I think it’s not just the size of the letters, which even at something around 20′ seem tiny compared to the overall mass of the tower. (For the record, the largest building sign in history was Citroen’s electric signage that ran the full height of the Eiffel Tower, which must have been incredible). Kamin points out that the font is all wrong for the tower–it’s a serif font on a sleek curtain wall that’s the architectonic essence of sans serif modern (For the record, the SOM-designed interior signage is in Futura Light). That’s undoubtedly true, and I think it’s worsened by the fact that the font–god knows what it actually is, but it looks like a bastardized version of, yes, Trump Medieval, which is what his company’s website uses–is both pumped up on boldness steroids and outlined. The effect is like wearing a shirt that’s tailored a size too large and then wearing an overly padded suit jacket. Bigness upon bigness, set against one of the most elegant, pinstriped curtain walls in the city. It’s the sort of graphic mistake that would get one of my design students sent back to the drawing board (OK, back to the Illustrator file) to re-do the final boards.
But there’s another issue here. Even if the signage designers can claim that the font choice and the pumped-up boldness of the letters came down to them from Trump himself (my guess), couldn’t they have at least taken ten minutes to explain kerning to him? Font nerds will recognize this immediately, but for laypersons unencumbered by graphic obsession, let me ruin the rest of your life for you: take this quiz (I’ll wait the two or three hours you’ll spend adjusting letters…)
The human eye is exquisitely sensitive to visual balance and proportion, and what typeface designers spend a huge amount of their time doing is designing not just the shapes of letters themselves, but the spaces between those letters. Nearly all fonts have a wide range of spacing between their letters depending on stroke width, serifs, solid/void percentage, etc. You can adjust the kerning in most word processing software, and what’s immediately apparent is that small changes in letter spacing make huge differences in readability–too wide or too tight and our eyes get strained quickly.
In the case of the Trump sign, it’s like the designer didn’t even try to kern the letters properly. There’s about half again as much space between them as there would be in a properly kerned line of type, and the spacing isn’t visually even–it looks like “TR U M P” to my eyes, anyway.
In fairness, it may be that the signage fabricators had to work to the cladding grid–in other words, since the sign wasn’t part of the original SOM design, they may have been left with trying to fix the letters to existing mullions. Typeface never works on an even grid, though, and this might explain why the letters seem so unevenly placed–because, in fact, they are evenly placed, and with the combination of serifs and letter widths, the ‘U” ends up looking lonely.
It’s a free country, of course, and as some supporters have pointed out (in tweets that are invariably retweeted on The Donald’s legendary Twitter feed), the sign is well within Chicago’s regulations for the area. You can’t legislate taste, of course, or even graphic literacy. It may be that only font snobs have had their Wabash Ave. vista truly wrecked while the rest of the world seems perfectly capable of getting on with their lives. But if just one architect starts paying attention to kerning, then the human tragedy that is the Trump sign may well end up having a silver lining. And maybe the anti-Trump signage movement will gain momentum, and a tasteful Futura Light version of the sign will replace this one On the upper mechanical levels, where your eyes want it to be…
July 17, 2014 § 2 Comments
July 2, 2014 § Leave a comment
An all-star cast…here’s the scientific committee for the 5th International Congress on Construction History, announced just a short while ago. It reads like a who’s who of the discipline, and from the looks of it this group will have plenty of work this summer…
June 30, 2014 § 2 Comments
Henry Petroski’s op-ed in the New York Times last week has made the rounds, and it’s the kind of thing that–on its surface–I’m all about:
Our 60-year-old home is an example of how infrastructure can be built to stand strong, age gracefully and be almost maintenance-free. The foundation sits firmly on solid granite. From the full basement you can see how the exposed beams, joists and underside of the flooring were made of good wood, built to last.
When I see a commercial building under construction today, I see nothing like this in the materials and workmanship, perhaps because it is simply a function of finance, expected to survive only until it is fully amortized in a company’s budget.
Hear, here, right? Petroski is one of my heroes–his books on engineering and in particular on the role of failure in design have been inspirational, and I use his examples all the time in my teaching. So the first few times I saw this in my inbox over the weekend I was smugly happy to see the culture of cheap, shoddy building that amortizes quickly and represents a “waste of resources” that “will not last” come in for a very public comeuppance.
But the more I’ve read this piece over the weekend, the more troubled I am about a couple of things. First, Petroski goes right after “workmanship,” conflating “inferior products” with “less skilled labor” to describe the state of American construction today. Anyone who’s worked on a job site knows that this is both totally true and totally untrue depending on the day of the week. There’s no measure for “workmanship” that we can point to, but I’d argue that–compared to, say, the 19th century–the quality of building stock today is far better. While I totally agree with Petroski’s lament about new residential construction (decaying vinyl siding and off gassing drywall, for instance), the well-crafted homes of the past that he refers to are examples of survivor’s bias; the really atrocious homes of those days are long-since gone. Slum tenements, rural shacks, firetraps of apartment buildings in major cities–all of these have been replaced, while the best-crafted examples are the ones we look at today and imagine as standard housing from the past. (See Jordan Ellenberg’s great How Not to be Wrong for a great explanation of survivor bias…) Building codes and industry standards have ensured that the average house of today is better built, safer, and sturdier than the average house of 1900.
But the other problem, more serious, I think, with Petroski’s column is whom he blames. In mixing up residential construction with infrastructure, he ends up calling on “homeowners, project managers and legislatures alike” to “call to account suppliers and contractors who do not produce the quality of materials and work they promise.” This, I think, unfairly blames builders for our problems with collapsing bridges, shabby housing, and potholes that reappear within weeks. What Petroski fails to note is that all of these things cost money, and the budgets for quality construction in the public and private spheres have imploded over the last forty years. Maintenance budgets, too, have been slashed by public institutions desperate to meet politically-minded budget cuts, donors fund new construction with no endowments to maintain their named buildings, and homeowners purchase more house than they can afford to buy, much less maintain. It’s not that builders, contractors, or craftsmen are necessarily worse than a hundred years ago. It’s that their clients, in particular public ones, have stopped asking for their best, and have stopped taking care of the things they make.
Blaming “cheaper labor” and “inferior new materials” sounds awfully grumpy, particularly when Petroski demands “almost maintenance-free” infrastructure. There ain’t no such thing, and the unglamorous, unfunded task of keeping up the nice things we do have is just as big a problem. It’s money, not a mythological lost “workmanship” that determines the quality of our infrastructure. That lovely cedar siding he mentions needs a good coat of paint every twenty years…
June 23, 2014 § Leave a comment
Just a quick note…I’m on a two-week European coda, backpacking with my daughter through her choice of cities and enjoying the chance to be a tourist. But along the way…
I listed off day trips from Berlin and Dresden sounded most interesting to her. I was here about ten years ago doing a bit of writing for my old firm, and found the place utterly fascinating. Her tastes run toward the historically complicated, too–we’ve seen a lot of Cold War and WWII sites in Berlin proper, and Dresden is all of that piled atop one another. And atop a rich history of baroque architecture and urban design.
The Frauenkirche is the prime example of just how layered Dresden has become. Built in the early 18th century, it was from the beginning a Lutheran church (there’s a statue of Martin Luther in front of it), but it was intended to rival anything the Catholics had built in Europe–at nearly 100m tall, its dome was 2/3 the height of St. Peter’s. But its central plan was designed to emphasize the inclusiveness of the protestant liturgy, making it a unique example of neo-Italian baroque combined with the (relative) simplicity of plan and ornament of the north.
The church survived wars, riots, and serious doubts about its stability until February 1945, when along with everything else in Dresden it fell to Allied bombing. After the war, the East German regime maintained the pile of rubble as a ‘peace memorial,’ but one with a clear subtext that kept memories of the British and American raid alive. Popular sentiment for rebuilding the church only gained traction after reunification, and the church was painstakingly rebuilt–using volunteered wedding photographs where original documentation was missing–between 1989 and 2004.
The finished reconstruction uses a combination of charred original stone and clean new stone, which highlights the fact that what you’re looking at is essentially a new building while commemorating the losses from 1945. Most of the exterior, in fact, is new stone, which makes the original pieces all the more compelling. The interior is entirely new, of course, and its bright finishes and perhaps too-flawless faux marble have struck some as a bit slick given the intentionally blemished exterior. The project remains dogged by controversy over its costs, its faithfulness or lack thereof to the original, and its status as a object of complicated blame–does its reconstruction read as an attempt to claim victimhood? Is that appropriate given the massive civilian casualties of Dresden? And how do we measure the impact of the bombing against that of German aggression? Obama’s visit to Dresden in 2009–during which he lit a candle in the church–was a flash point for all of these issues. Sixty years, it appears, is still too soon to really contextualize.
A finer balance between old and new, and commemoration and function takes place in Dresden’s train station, done by Foster’s and completed around the same time. The arches of the original shed survived the fire, along with the head house’s structure and the undercroft that served as an ineffective bomb shelter for thousands. Keeping all of those, but replacing the burned-out roof with a light shelter of translucent fabric created a bright but elegiac space, a fitting way to come into and to leave the city.
The whole day left me missing feedback from my colleague this year at AAR, Max Page, whose work focuses on preservation of difficult or complex sites. He’s been studying fascist architecture and WWII sites in Italy, and Dresden offers the same sort of paradoxes at every turn…