Archive for the 'Uncategorized' Category

Rem Koolhaas – The McCormick Tribune Campus Center Illinois Institute of Technology

December 3, 2010

Is the use of color also very specific to this building? It seems like orange is the keynote color, and green is its complement.

Rem Koolhaas: I think that one of my fascinations with Mies is his sense of color, even though at first he is not usually associated with color, but I think that in the 20’s and 30’s he did some really strong experiments with color, and I can also kind of remember the first time I was in the Chicago Arts Club that there is kind of really strident and outrageous sense of color. I didn’t necessarily want to make it strident or outrageous, but I think that also interestingly enough, at least that was the effect on me when I was standing on State Street, the building (Student Center) in its scale is very modest compared to the Mies building, but by being that color somehow brings out the color in the Mies building, also.

By contrast between the two?

Rem Koolhaas: Not only by contrast but also by raising the issue of color, you suddenly see much more color in Mies.


Cesar Pelli – Pacific Design Center

December 3, 2010

Claude Cormier, Blue Stick Garden

November 3, 2010

Invited to participate in the centennial of Gertrude Jekyll’s historic Hestercombe Gardens, we thought it only fitting that Blue Stick Garden should travel to its original source of inspiration. Jekyll’s work was seminal to the oeuvre of Elsie Reford, who created the Métis garden that spawned Blue Stick. Our installation was a landscape tribute to the formal garden created by Jekyll and architect Sir Edwin Lutyens, which is celebrated as one of the determining landscape works of the last century.

Blue Tree, Claude Cormier

November 3, 2010

Installation for the Cornerstone Festival of Gardens, Napa Valley

New life was given to a diseased tree slated for removal by decking its branches with 75,000 retrofitted sky-blue Christmas balls. The landscape equivalent of a Photoshop eraser saturated this natural tree with the artificial in a bid for total camouflage. But the opposite result occurred: Blue Tree stood out against the ever-changing sky, becoming a barometer for subtle fluctuations in natural light.

Rios Clementi Hale – California Endowment

October 28, 2010

On the exterior the primary method for this is color: two single-story structures, which house meeting rooms for grassroots advocacy and service groups, are painted ochre, for the beige and stone of Union Station, and terra-cotta, for the brick palette of Chinatown. A third building is white flecked with panels of blue glass; all three are crisscrossed by bands of variegated greens to connect to the California landscape. “Some people in the organization were a little afraid of having strong colors, but once we explained the story behind them and they realized that this was about being thoughtful, not about showing off, they came around,” principal Bob Hale says.

Javier Larraz – Nursery School in Pamplona Pamplona, Navarra, Spain

October 27, 2010


West façade is protected against the direct evening sun through a structural lattice composed by vertical slats which are basically created by steel rhombus-shaped section pillars.

Kohn Shnier – Claude Watson School for the Arts Toronto, Ontario, Canada

October 27, 2010

The prevailing tectonic feature of the building is the aluminum brise soleil which protects the library from direct southern exposure. The hexagonal structure also alludes to ”the hive“, a clear analogue to the collective, creative activities of the students.

Peter Gluck – The East Harlem School New York, NY

October 27, 2010

Classrooms and other specialty academic spaces above are screened by a fabric-like weave of windows and panels of varying colors and degrees of reflectivity. As part of the pixelated facade, window openings are placed in relation to interior planning rather than imposing a formal exterior logic.

Daly Genik- Camino School, Los Angeles

October 27, 2010

Renzo Piano – LACMA

October 22, 2010


LIFSON: What’s with all the bright red you use at LACMA, Renzo?  The mechanicals are exposed, celebrated, as at your Pompidou Center, and are bright red!

PIANO: (His face lights up and he gets more animated) Red became a kind of pleasure, being in Los Angeles and looking at the beauty of color. Look at the blue of the sky, and look at the green of the trees that Bob Irwin is planting, and the way they play together. It’s about enjoyment, it’s about joy, the joy of Los Angeles! And the bright red all together unifies my work on this campus. On the Resnick Pavilion, it’s the color of the “breathing machine” [the ventilation system] and on the Broad, it’s the color of the elevator and the escalator. And I love to express those functions, I’ve been doing it at least since the Pompidou Center.