James Barron/The New York Times
The death of Charles Gwathmey early this month has provoked a lot of nostalgic reminiscence in the New York architecture world: not just about Mr. Gwathmey himself, but also about the New York Five, a group of influential architects of which he was part.
As Heroes Disappear, the City Needs More Nicolai Ouroussoff NYT 8/23/09
Dean Robert A. M. Stern of the Yale School of Architecture and Charles Gwathmey, Partner, Gwathmey Siegel & Associates Architects, tell the story of the Yale Art and Architecture building: from its lauded beginnings, the period of renovation after a tragic fire, and its new beginning as Paul Rudolph Hall in combination with Jeffrey H. Loria Center for the History of Art and the Robert B. Haas Family Arts Library.
See more at the Yale University Youtube Channel.
Two architecture-school buildings — one completed in 1963 and the other opened last year — are in some ways surprisingly similar. The older of the two is Paul Rudolph’s famous Brutalist masterpiece at Yale University; the younger is Antoine Predock’s building at the University of New Mexico. You can read about them in an article in this week’s Chronicle Review.
Separated at Birth? 2 Architecture-School Buildings Have Much in Common Chronicle of Higher Education 4/27/09
Yale University Press
Via Yale University Press:
Twenty-one-year-old Peter Heisterkamp began signing his colorful and playful abstract artworks Palermo in 1964, when peers noted his resemblance to the American gangster Frank “Blinky” Palermo. This handsome book—a historical and critical study of Palermo’s painting from the time he entered Joseph Beuys’s now famous class at the Düsseldorf academy in 1964 to his death in 1977—explores his significance for postwar and abstract art.
Call Number: ART N6888.P235 M44X 2008 (LC)
Wendy Carlson for The New York Times
European architects of the early 20th century became enamored with the spare construction of American barns, said Sandy Isenstadt, a professor of modern architecture at Yale. “To them, barns and silos represented exactly the sort of strict functional thinking, without concern for aesthetics, that a new architecture might be founded upon,” he said. “So they saw such buildings as beautiful — a beauty that descends from attention to function rather than from concern for appearance.”
Saving the Barns, Before They Vanish Wendy Carlson NYT 3/6/09
Posted by Chris