Современная архитектура: Методическое пособие по домашнему чтению на английском языке для студентов архитектурных специальностей дневного отделения высших технических учебных заведений

Федеральное агентство по образованию Государственное образовательное учреждение высшего профессионального образования

Ульяновский государственный технический университет

СОВРЕМЕННАЯ АРХИТЕКТУРА Методическое пособие по домашнему чтению на английском языке для студентов архитектурных специальностей дневного отделения высших технических учебных заведений

Составители: Н. В. Трубникова О. Г. Гусева

Ульяновск 2006

УДК 802.0(076) ББК 81.я7 С 56

Рецензент кандидат филологических наук, «Иностранные языки» УлГТУ Т. Г. Пятышина.

доцент

кафедры

Одобрено секцией методических пособий научно-методического совета университета.

С 56

Современная архитектура: методическое пособие по домашнему чтению на английском языке для студентов архитектурных специальностей дневного отделения высших технических учебных заведений / сост.: Н. В. Трубникова, О. Г. Гусева. – Ульяновск: УлГТУ, 2006. – 48 с. Пособие составлено в соответствии с программой курса английского языка для технических вузов и предназначено для студентов специальностей «Дизайн архитектурной среды», «Дизайн интерьеров». Данное пособие построено на материале оригинальных технических текстов архитектурно-строительной направленности, рекомендуемых для дополнительного чтения; также разработан словарь терминов к каждому тексту и предложены лексические тексты в качестве контроля понимания переводимой информации. Цель пособия – развитие навыков чтения, перевода и тестирования в пределах изученной специализированной тематики. Работа подготовлена на кафедре иностранных языков.

УДК 802.0(076) ББК 81.я7 © Н. В. Трубникова, О. Г. Гусева, составление, 2006 © Оформление. УлГТУ, 2006

I. English Architecture English Cathedrals Cathedrals in Medieval times occupied the place of first importance in national life, and men were engaged on their construction from one generation to another (St Paul's in London and Salisbury are exceptions). They were the history books of the period when few people could read, and thus were a medium of popular education; they took the place in the social state of such modern institutions as schools, libraries, museums, picture galleries, and concert halls. Sculpture and painted glass reflected incidents of Bible history. The fact that they were constantly in process of construction and alteration gave them a special charm, both architectural and historical, for in combining successive stages in architectural style in a single building they reflected national history and development, and showed the evolution of Gothic architecture. Church plans in England and some other countries are generally in the form of a Latin cross of which the short arms form north and south transepts. The origin of this form is not clear. It may have been formed from the plan of the Early Christian basilican churches, such as old St Peter's Rome, by the extension of the bema into well-marked transepts, or it may have been suggested by the cruciform tombs of the period of Constantine. The main body of the church generally stretches westward and the choir and sanctuary eastward from the crossing of nave and transepts, which is often marked externally by a tower, sometimes tapering into a spire. These main divisions east and west, and the transepts north and south, are often further divided into central nave with side aisles, separated by columns or piers. The columns or piers which separate the nave and aisles support the nave arcades and the walls which rise above the aisle roofs (naves are higher than aisles). Above is the triforium or blind storey, which is the space beneath the sloping roof over the aisle vault and enclosed on the nave side by a series of arches. Above the triforium is a row of windows to light the nave, called the clearstory or clerestory. By means of cross vaults these clearstory windows rise to the level of the ridge of the nave vault, which is covered by a highpitched roof. The eastern arm or the choir, reached by steps from the nave level, is generally the most ornate part of the cathedral. English cathedrals usually had a square end to the sanctuary, but many cathedrals when rebuilt in Norman times were given a circular end, which was sometimes partially developed into a chevet (a circular or polygonal apse surrounded by an ambulatory, off which are chapels). This may still be seen in the plans of Canterbury, Ely, Winchester, Durham, Gloucester, and others. Many cathedrals were enlarged in later years and were then given a square termination, thus coming back to the Anglo-Saxon usage. Westminster Abbey, built under French influence, is unique in England in having a chevet with a complete ring of chapels. The Lady Chapel was added at the extreme east end, as at York, Salisbury, and Gloucester, or on one side as at Ely. A large proportion of the present cathedral churches once formed part of monastic establishments with cloisters, refectories, chapter-houses, scriptorium, 3

library, guest hall, infirmary, prison, wine cellar, mills, workshops, and gardens. They are now set in a quiet close and not among the houses of the town. They are long and narrow as compared with French, the length is often as much as six times the width. There are fewer side chapels in England than in France. The cloisters round which the various buildings were grouped formed a covered way for the use of monks, but were also planned, as at Salisbury and Wells, as ornamental additions to cathedrals which were not part of monasteries. In England churches often served a two-fold purpose and provided services for monks at one end and for citizens at the other, so the choir or eastern arm had to be large enough to accommodate the monks, and it was often nearly as long as the nave or western arm. Transepts project considerably and secondary transepts occur, as at Salisbury, Canterbury, Lincoln, Wells, and Worcester. The high central tower over the crossing, as at Lincoln, York, Ely, Gloucester, Canterbury and Durham, is effective by contrast with the low nave; its height can be increased by a tapering spire, as at Salisbury. Sometimes there are two Western towers. Flying buttresses are not so common as in France because the nave vault is comparatively low. A description of English cathedrals would be incomplete without mentioning the sculptured west front of Wells, and those internal fittings such as rood lofts, choir screens, carved stalls, misericords, bishop's thrones, sculptured reredoses, fonts, tombs, sedilia, pulpits, lecterns, brasses, triptychs, wall tablets, alms boxes, credences, oak chests, and other fittings which with the tiled floor not only give a rich appearance to the interiors of cathedrals and churches, but are also of importance as historical records. Chapter-houses were originally square in plan, as at Canterbury, but that at Durham was apsidal, and that at Worcester is circular. The normal type is octagonal with a centre pillar to support the vaulting, as Westminster, Salisbury and Wells, but Lincoln is decagonal. York chapter-house is octagonal, with no central pillar, as the vault is of wood instead of stone. _________________ Vocabulary: a pier a transept an aisle vault a blind storey a clerestory a high-pitched roof a choir a sanctuary

4

a chevet an apse a rood loft a carved stall a cloister a chapter-house an infirmary a misericord sculptured reredoses a lectern a pulpit a sedilia a bishop’s throne a font a credence an oak chest Monasteries Monastic communities appeared in Europe, as early as the sixth century, but the eleventh century was remarkable for that great development of the Monastic culture which gave an impulse to civilization, promoted new methods in agriculture, and exercised its influence on architecture. Until the middle of the twelfth century, science, literature, art, and culture were the monopoly of the religious Orders. Monks and their pupils were often the designers of cathedrals. The chief Monastic Orders were as follows: I. The Benedictine Order was founded during the sixth century in South Italy by St Benedict. Architecture, painting, and all branches of art were taught by the monks. All the older monasteries in England, including those of Canterbury and Westminster, belonged to this order. II. The Clunaic Order was founded in 909 in Burgundy, France, the plan had double transepts, a feature adopted in many English cathedrals, as Lincoln and Salisbury. III. The Cistercian Order was founded in 1098 in Burgundy. The typical church was divided transversely into three parts by screens, walls, or steps, and there were often no aisles. There was an absence of towers and paint ed glass. In England some abbeys belonged to this order. IV. The Augustinian Order differed little from the Benedictine and was introduced into England in 1105. V. The Premonstratensian Order was founded in Picardy, France, in 1119. Yorks Abbey (1152) is one of their monastic buildings in England. VI. The Carthusian Order was founded about 1080 in France. An English example is the Charterhouse, London. By the rules of the order the monks had to work, eat, and drink in silence, speech was interdicted. VII. The Military Orders included the Knights Templars and the Knights Hospitallers, or Knights of St John. Their churches were circular in plan and are 5

supposed to have been on the model of the Rotunda of the Holy Sepulchre, Jerusalem. Some English churches, e.g. the Temple Church, London, were founded by these Orders. VIII. The Friars, of which there were several Orders, were of later origin. Their churches were designed for preaching, a) The Dominicans (preaching or Black Friars) were founded about 1170, and came to England about 1217. b) The Franciscans (mendicants or Grey Friars) were founded in 1209, and came to England in 1224. c) The Carmelites (White Friars) came to England in 1229. IX. The Jesuits were founded as a counterforce to the Reformation, and they came to England about 1538. The plan of a typical Benedictine Monastery, like Westminster Abbey, consisted of a group of buildings designed for all occupations of the monks, and was like a village with the monastic church as the centre. It included the following departments: a) The Monastic Church, situated in a court or Close open to the public, b) A Cloister Court with the chapter-house, sacristy, and dormitory with its staircase into the church, while the cellars for beer, wine and oil were often under the dormitory. The refectory and kitchens with their noise and smell were on the side of the cloister away from the church. The lavatory was usually in the south cloister walk, as at Westminster, Wells, and Gloucester, c) An Inner Court with infirmary, guest house, kitchen, servants' hall, library, and the scriptorium for writing, d) A Common Court, approached through a gateway for carts, and surrounded by granaries, bakehouses, stables, storerooms, servants' rooms, tribunal, prison, abbot's house, e) Mills, workshops, gardens, orchards, and fish ponds. Parish churches The building of churches in England progressed on national lines, and the 9,000 parish churches of the Medieval period indicate the evolution of the style. The Church of St Andrew, Heckington, Lincolnshire (1345-80) is a fine example of English parish church. It has a western tower, nave with aisles, south entrance porch, transepts, aisleless chancel with priest's door, square east end due to Anglo-Saxon influence, and a sacristy. Some larger parish churches which are cruciform in plan have the tower over the crossing of nave and transepts. A spire, usually octagonal, often crowns the tower, and the change from the square to the octagon was effected in the thirteenth century by means of a broach resting on angle squinch arches; while in the following centuries parapets with elaborate pinnacles and flying buttresses connected the tower to the base of the spire. The principal entrance was either through a south porch near the west end or by a door under the tower in the west facade. There is no feature more typically English than the timber roof, with all its variations of structure and design, as gradually developed out of the combinations of rafters and beams. A church often had different kinds of timber roof to its different parts, for example to the chancel and to the nave.

6

Chapels Chapels are places for worship, e.g. in churches, containing an altar, in honour of particular saints. Sometimes they are erected as separate structures serving as secondary churches in parishes or are attached to secular buildings. In England chapels differed according to the type of building to which they were attached and the special purpose for which they were erected. But a nave, to which aisles were sometimes added, was common to all. Some were attached to royal castles (St John's Chapel in the Tower of London), to royal palaces (St Stephen's Chapel, Westminster), to manor houses, to colleges (in Oxford, Cambridge), to ecclesiastical palaces (Lambeth Palace), or to bridges (at Wakefield, 14th century), while others were specially designed as mortuary chapels (Henry VII's Chapel, Westminster). Lateral chapels are not so frequent as in France, they are rare in those cathedrals which were designed for monks and not for common people. Lady Chapels appeared in England due to the adoration of the Virgin Mary. A Lady Chapel is a major chapel dedicated to the Virgin Mary and situated on the axis of a church at its east end, as at Salisbury, or as a lateral addition, as at Ely. They form a church within a church in most of English cathedrals. Chantry Chapels often served, before the Restoration, for the saying of masses for the souls of their founders and their families. These chapels were most numerous in abbeys and cathedrals where the privilege of burial could only be obtained by some offering. In English cathedrals chantry chapels often occupied one or more bays in an aisle, and were enclosed by open screens, or were external additions to the original building, while others were independent structures within the building. The Chantry Chapel, Worcester (1504), erected to Arthur, son of Henry VII, is a remarkably fine internal structure, its whole surface is covered, both internally and externally, with tracery, and sculptured. Galilee or galilee chapel is a narthex or chapel for worship at the west end of a church. It can also mean a chapel connected with some early medieval churches, to which monks returned after processions, and in which they were allowed to meet women who were related to them, and where the worthy dead were buried. Shrines or shrine chapels are places containing sacred relics. They were frequent in English cathedrals, but many were destroyed at the Reformation. The Chapel of Ease is a church built within the bounds of a parish for the attendance of those who cannot reach the parish church conveniently. _________________ Vocabulary: a painted glass to preach a sacristy a dormitory a refectory 7

a lavatory a scriptorium a granary a bakehouse a stable a mill a workshop an orchard an entrance porch a broach angle squinch arch flying buttress elaborate pinnacle a spire a rafter a chancel a beam a worship a screen a chantry chapel a galilee chapel a shrine chapel Lexical test 1. Why did cathedrals occupy the place of first importance in social life? a) because men were engaged on their construction from one generation to another b) because they took the place in the social state of such modern institutions as schools, libraries, museums, picture galleries and concert halls c) because of their special architectural and historical charm 2. What makes the interiors of cathedrals so rich? a) sculptured reredoses b) triptychs c) transepts 3. What is the shape of chapter-houses? a) square b) round c) octagonal 4. What are the characteristic features of English parish churches? a) circular in plan 8

b) cruciform in plan c) timber roof 5. What are the main types of chapels? a) Lady Chapel b) Henry VII’s Chapel c) Chantry Chapel d) Shrine Chapel e) Lateral Chapel f) Galilee Chapel g) Chapel of Ease h) St. John’s Chapel Manor houses Domestic architecture in England, in contrast to military, was little influenced by the Roman occupation, as the uncovered atriums of the villas were found to be unsuitable for the English climate. A new type of house was developed, in which the central feature was the covered hall. Throughout the Medieval period this hall served many uses, and in Saxon times it often formed the one and only room for the sleeping, eating, living, and cooking of the owner, his family, his guests, and his serfs.* Light came through small windows with shutters, and the only heating was supplied by the log fire on the central hearth, the smoke from which found its way out through an opening in the roof. Norman period. The Norman manor house was often walled in and moated, and consisted of the great common hall with the private solar at one end and kitchens at the other. This was the germ of all future house plans, with their many and various additions. Little domestic architecture remains from this period, as it was not protected by its sanctity, as were churches, or by the strength of its defences, as were castles. Early English period. During the thirteenth century the number of rooms was increased, and the planning improved, especially in those manor houses which were the residences of royalty. We now first hear of the buttery, pantry, larder, wardrobe, and oratory, but these became more general in the fourteenth century. These more comfortable houses were gradually replacing the keeps; but still many permissions to "crenellate" or fortify manor houses were given by Henry III. The hall with its rude trestle furniture still remained the principal living-room and general dormitory. Glass slowly began to take place of wooden shutters, though it was still an expensive foreign luxury. Decorated period. A typical manor house of the fourteenth century was generally castellated and quadrangular, with a central courtyard entered through a gatehouse, protected by a portcullis and drawbridge over a moat which enclosed the whole group of buildings. Opposite the gatehouse a porch led to the entry or vestibule, separated from the hall by a screen with two doors, while on the other side there were three doors into kitchen and offices. The term "screen" is usually applied to the whole 9

of this entry, over which was the minstrel's gallery, a characteristic feature of the lofty medieval hall, which was the whole height of the house. Beyond the dais end of the hall were the family apartments and the chapel. The hall was still a sleeping-room for the retainers and had its floor covered with rushes and its walls hung with tapestry and trophies of the hunt, while glazed windows were still rare. Wall fireplaces with hooded canopies were usual, although sometimes the hall still had a central hearth for charcoal, wood, and turf, and a smoke "louvre" in the roof, as at Penshurst", Kent. In this great hall the Lord of the Manor held his court and administered justice,* and here too, on the dais, the family dined at the high table, while at a long table in the body of the hall his vassals took their meals. The dais sometimes had a lofty baywindow which gave additional dignity to this part of the hall. Of the three doorways in the "screens" on the side away from the hall, the central one generally opened into the kitchen, one into the buttery, and the other into the pantry, where butter, cheese, and bread, as well as plates and salt-cellars were kept. The larder, in which the meats were larded or preserved, was very important and formed a store-room. The old "solar", which now became known as the withdrawing-room, was frequently on an upper floor, and here from a spy-hole the master could survey the hall below. A lady's bower and additional rooms indicate an increased desire for privacy. The chapel had a gallery for the master and his family, while the retainers were on the floor below. A small priest's chamber was sometimes added. Perpendicular period. In spite of the Wars of the Roses,* the fifteenth century saw an improvement in social conditions and commercial prosperity. This was reflected in the architecture of manor houses by further provision for domestic comfort. The hall, with fine bay-window, canopied fireplace, an open timber roof, continued to be the principal feature; furniture was still scanty, trestle tables were still in use, and the floor was only covered with rushes or matting. The withdrawing-room and lady's bower were now used only as sitting rooms, while bedrooms increased in number, and the hall was not used any longer as the general dormitory. To kitchen, besides buttery, pantry, and larder, were now often added a scullery, bakehouse, brewhouse, and dairy, while corn mills, granaries, and stables became more numerous. Tudor period. Manor houses of the first half of the sixteenth century were principally erected by new and wealthy trading families, who were taking the place of the old nobility, while the suppression of monasteries by Henry VIII provided him with both money and lands with which to enrich his favourites, who vied with one another in the building of fine houses. The Tudor house, with its increased number and variety of rooms, was usually still built round a quadrangular court from which many rooms were entered direct. Under changed conditions such features as battlemented parapets and fortified gateways were retained for ornament rather than defence, while the addition of numerous ornamental chimneys indicate the increased comfort within. The entrance to the quadrangle was under a gate-house, opposite which on the other side of the court was the porch leading to the "screens" of the great hall, which now became less important, because of the addition of other rooms, and also by the smaller number of military retainers. But still artistic skill was used for 10

its decoration, this is seen especially in the richly carved wall fireplace, oak-panelled walls, and timber roof, while the furniture became more numerous. We now first hear of such additional rooms as the study, summer and winter parlours, and private dining-rooms while bedrooms were increased; Hengrave Hall, Suffolk (1538), had no fewer than forty bedrooms, and an inventory includes, besides kitchen offices, pastryroom, laundry, linen-room, and still-rooms, in addition to those of the previous period. Gardens were now laid out on definite architectural plans to form fitting frames for the houses, with paved alleys, yew hedges, stone steps, and ballustraded terraces. Elizabethan and Jacobean periods. The mansions of these periods show a general similarity in their arrangement. The smaller houses had a central hall flanked at one end by kitchen and offices, and at the other by withdrawing- and living-rooms; while the larger type was quadrangular with similar accommodation, but with additional rooms grouped round the court, and with a gatehouse in the centre of the entrance side. Elizabethan architects used the Tudor plan for smaller houses, but they developed the E-shaped plan from the quadrangular plan by omitting one side, thus admitting sunlight and allowing freer circulation of air. The gatehouse often became a detached building. _________________ Vocabulary: an uncovered atrium a serf a shutter moated a germ a sanctity rude trestle furniture a portcullis a gatehouse a drawbridge a minstrel’s gallery glazed windows charcoal a bay-window a dais scanty battlemented parapet a parlour paved alleys linen-room still-room ballustraded terraces

11

Public buildings Colleges. The University of Oxford appears to have been formed by English scholars from the University at Paris, and it dates from about 1167, while that of Cambridge (1209) appeared through a migration from Oxford. Colleges were similar in general equipment to monastic establishments, and were based on the plan of the medieval house, with hall and rooms grouped round a quadrangle; so that the colleges of Oxford and Cambridge and the Inns of Court,* London, still give a good idea of the arrangement of hall, screens, and dais, with the bay-window and timber roof of a medieval manor house. Schools. There were schools in England in the seventh century, as early as there were churches, but they were not monastic in origin, though often associated with cathedrals or churches. The first were probably at Canterbury. Then there were many grammar (i.e. for Latin classics) schools* attached to cathedrals, churches, hospitals and guilds. In addition to public grammar schools and monastic schools for novices, a new type of charity schools* appeared in the fourteenth century for choristers, as at Durham. Many schools suffered on the Dissolution* of the Monasteries (1536-40). Some were re-established under Edward VI. The Restoration* period was anti-educational, and it was not until the nineteenth century that a new stimulus was given to education. Elementary schools* were founded for the poor. Hospitals and almshouses. Hospitals and almshouses increased in number on the decline of the monasteries, and thus there was much similarity between them in purpose and design. Market halls and crosses. Markets were established in most provincial towns where the farmers could bring their produce for sale, while annual fairs provided other facilities for commerce, and sometimes, like the markets were held in churchyards. The beautiful Market Crosses (cross here means a monument or building of any kind crowned with a cross) in Salisbury and Chister still serve their original purpose, which was similar to that of the market halls, and show the similarity in type of the commercial and ecclesiastical architecture of the period. Inns. Inns of the Middle Ages, as well as monasteries, provided accommodation for travellers, and many inns were used as posting houses. The Star Inn, Alfriston, Sussex. Alfriston lies in the valley of the tiny Cuckmere River. The remains of its market cross and its large fourteenth-century church prove that it was an important trading town. The Star inn is very old, yet very comfortable; its very heavily timbered walls ate from the late fifteenth century. _________________ Vocabulary: a quadrangle a guild a charity school an almshouse a cross 12

a churchyard a posting house an inn Lexical test 1. Decorated period of a typical manor house is characterized… a) by the planning improved with the hall’s trestle furniture b) by the central courtyard entered through a gatehouse, protected by a portcullis and drawbridge over a moat wich enclosed the whole group of buildings c) by the similarity in the small houses arrangement 2. Manor house of Tudor period dates… a) the fifteenth century b) the fourteenth century c) the first half of the sixteenth century 3. What period of English architecture showed the improvement in social conditions and commercial prosperity? a) Early English period b) Elizabethan and Jacobean periods c) Perpendicular period 4. What public buildings were built in England in the seventh century? a) schools b) market halls c) inns 5. What was the first English school’s function? a) medical education b) commercial education c) religious education

II.

Architectural masterpieces London Bridge

From time immemorial a bridge stood at the part of the river not far from the place where the Tower is situated now. The first London bridge was built by the Romans. They conquered the Britons and established a fort, soon they found that a bridge was necessary to cross the river, so they chose the narrowest place not far from their settlement. 13

The first bridge was built of wood, and it is guessed that the planks of which it was made were put together so loosely that there were cracks between, because in the river-bed below, many ancient coins have been found, and it is supposed that they must have been dropped by the people crossing the bridge. The people had to pay money for crossing, they had their money ready and so it was easy for them to lose it. In the year 1212a most terrible accident befell the bridge then standing, which was the first one built of stone. It had only been finished about twelve years when a great fire broke out on the south side of the river not far from its end. Hundreds of people ran across the bridge, or stood on it, in order to watch the fire. At last the fire caught the south end of the bridge itself, and the people began to crowd backwards; but there was a strong wind blowing, and it carried the flames over the heads of the people to the north end of the bridge, which also began to burn, and so the people were in a position of great danger between two fires! A panic began, people ran to and fro; the strong trampled down the weak, and some went almost mad with fear as they saw that the two fires were approaching each other. Hundreds jumped into the water. Some were saved in the boats, but others were drowned. Something like 3,000 people perished (burned or drowned) that day! After that the bridge had to be rebuilt, and it is this bridge generally called Old London Bridge, which is the most interesting of all. It really was a wonderful piece of work. On each side were houses which projected out above the water. The houses formed a street, which was very narrow and dark because the upper storeys of the houses were built out toward each other, as was the fashion in those days. There were shops on the ground floors of the houses. Upon the bridge, besides the houses, which were as charming as a picture, though no doubt very inconvenient to live in, there were other objects of great interest. For instance, there was the Chapel of St Thomas, in two storeys, most beautifully built. The windows were of stained glass, and the pillars were carved. At one end of the bridge stood a very remarkable house called Nonsuch House,* and indeed it is quite likely there was none such another house in the world, not a nail was used in its construction. The pieces were made in Holland. The front was wonderfully carved, and on each side rose domes with short spires. In the middle of the bridge was a drawbridge - that is a part which could be drawn up so as to leave a gap and thus prevent any enemy from passing over into the City. As there was no other bridge at that time, this really did prove a defence. At the south end of the bridge was the great gate on which the heads of the executed people were set on poles. Of all the stories about the bridge none is more interesting than that of the apprentice, Edward Osborne. During the reign of Queen Elizabeth, there lived on London Bridge a rich merchant. He had several apprentices, of which Edward was one. One day Edward was looking out over the river in his master's house, suddenly he saw his master's only little daughter, Anne, fall from an open window, where she had been playing. The boy jumped into the water and saved the drowning child. When they grew up, Edward married Anne and finally became Lord Mayor of London, and was called Sir Edward Osborne.

14

The bridge suffered in the Great Fire of London in 1666, but the houses were rebuilt. They were finally removed in 1758. A new bridge was designed by John Rennie, and finished by his sons in the nineteenth century. It was not for a long time that the authorities could make up their minds to pull down the old one, but it was done at last in 1832. When this bridge in its turn became old, it was sold to the USA in 1968 and a new bridge was constructed in 1973. _________________ Vocabulary: a plank to perish a front a merchant an apprentice to prove a defence time immemorial to be guessed to crowd backwards to run to and fro to suffer Tate and Clore The Tate Gallery is the National Gallery of British Art. It is named after Sir Henry Tate (1819-99), a rich merchant. His gallery contained one of the best private collections of modern art in England. To house it he founded the National Gallery and was created a baronet in the year after the Tate Gallery had been opened. The new gallery was built on the site of Mill-bank Prison by Sidney Smith in 1897. It was erected in a free classic style. In the centre of the facade is a handsome projecting Corinthian portico. The Clore building is an extension to the Tate Gallery, built by James Stirling and Michael Wilford. The Clore Gallery is a kind of surrealist collage of the recent past and history. It has provided a set of galleries, traditional in form and perfectly lit, in which pictures by Turner now hang. The Clore building consists of two arms, one joining the Tate Gallery just behind one of its lateral pavilions, the other turning at right angles from this towards the river and coming within a few yards of another existing building, the "Lodge", formerly part of the military hospital but now a permanent part of the Tate Complex. The first and longest of these arms contains the nine Turner galleries on the main floor, with the auditorium, education department and usual offices below. The second contains the entrance hall and main staircase, followed by the "social room" with,

15

above, various technical, administrative and study rooms. In the angle between the two wings is a landscaped garden. Sidney Smith's Tate building of 1897 stands on a basement of rock-faced rustics. Smith has two orders: the Corinthian of the portico and a secondary order which is Ionic but suddenly turns Doric. Stirling has taken Smith's Ionic/Doric cornice and ran it continuously with a blocking course along both arms of his new building. More by chance, than by design, the Gibbsini-an cornice of the red-brick Neo-Georgian Lodge strikes exactly the level of Smith's. Between the old Tate and the Lodge, nothing rises higher than the blocking course, except a brief attic storey at the Lodge, containing the curator's office. In front of the public entrance to the Clore there is a stone-flagged terrace with a pool of water and a pergola. Here the Tate pavilion comes exactly opposite the public entrance to the Clore and both are axially reflected in the pool. The Tate is pedimented and windowed only in its rocky base. The Clore entrance wall is of Portland ashlar. The entrance opening has the shape of a low, gabled (or pedimented) building, above it there a lunette, there are no windows. The bright green metal grid fills the opening and clasps the revolving door. The solution of the adjacent elevations is also very interesting. Picture galleries, like prisons and mausolea, do not ask to be windowed. The Classical masters played Classical games on blind walls: Soane's game with the Tivoli Order* at the Bank, Sidney Smith solved the problem simply by blocking up Venetian windows. Stirling has found his own answer in a different mode - system of "gridding". A grid of Portland stone ribs wraps the whole building. The grid contains square panels filled either with buff stucco or with red brick. It has nothing to do with the structure (it is a reinforced concrete frame, unseen). In the gallery block all the panels are filled with buff stucco, in the other block partly by red brick to match the Lodge. There are nine rooms in all. First a big room, then a long "spinal" room, four smaller rooms lead off this and on one of them is a Stirlingesque version of what the Elizabethans called a carrel window, i.e. a bay projecting into a peaked oriel, its metal bars, painted green, appear in the centre bay of the outside elevation. Another big room connects with the old Tate. A separate room, adjoining the first big room, darker and differently decorated, is reserved for watercolours. There is an auditorium to seat 200 and a "social room" for occasional use, with spiral staircases in one corner leading to the secretary's room. That officer can look over a balustrade into the room, or outside to the terrace (through a small peaked oriel) or inwards to the staircase hall (through an open triangle) with scarcely a movement from his or her desk. The lighting combines natural and artificial light and adjusts itself automatically to the conditions of the external world. _________________ Vocabulary: a portico an auditorium a wing 16

a rock-faced rustic a blocking course a curator’s office a stone-flagged terrace a pergola a rocky base Portland ashlar a lunette a clasp an adjacent a grid a buff stucco a carrel window a metal bar a watercolour a peaked oriel a darker Venetian window The Maiden Lane Housing Estate The Maiden Lane housing estate in Camden is an exercise in low-rise concrete late Modernism by the London Borough of Camden's Department of Architecture (project architects: Gordon Benson and Alan Forsyth). Shortly after it was completed in 1982, it was described by Alvin Boyarsky in Architectural Review as "the very best in British housing and as civilized as any recent European solutions". Six years later the Maiden Lane Community is said to have broken down completely and the police is afraid of an outbreak of serious public disorder. To what extent is the architecture to blame? The opinion of the tenants: "A mental institution", "Labyrinth, jungle". "A prison camp, just rows and rows and rows". "Depressing white boxes with black windows". "Gestapo headquarters." "The architect? He designed it without the intention of living in it." "To me it looks like a modern prison." It would seem that architecture is to blame. Clearly the AR's critics (Alvin Boyarsky and John Winter) were wrong. Clearly the architects who design this sort of building are out of touch with ordinary people. And the consequences can be disastrous. It shows that there is something fundamentally inhuman about Modern Movement Architecture. Architects should begin listening to the people. This is the view taken by John Thompson who prepared a report on the estate. Colin Davies does not quite agree with him. Is it really as simple as this? The report sets out a clear and thorough analysis of the estate's problems. But it also provides data for those who refuse to believe that architecture can be held responsible for the breakdown of inner-city communities. 17

Consider a few non-architectural facts: 58 per cent of heads of households on the estate are unemployed; 38 per cent of school leavers still living at home have not yet found a job; 38 per cent of all the households on the estate are single parent families, and that proportion is rising rapidly. Half of the families that moved into the estate in 1987 had only one parent. Of a total of 376 children, 131 have only one parent. The child density is very high. That is a ratio of only 1.9 adults per child. Overcrowding is common. Almost half of the families say they have not enough bedrooms. Almost 78 per cent of tenants are in arrears with the rent. None of this has anything to do with architecture, Modernist or otherwise. It does, however, describe the kind of social conditions likely to give rise to crime and vandalism on the one hand, and fear and isolation on the other. But let us pay attention to what the tenants themselves say. 80 per cent of tenants are dissatisfied with the cleanliness of the estate. This problem is, indeed, design related. It has to do with the system of rubbish collection, which has never worked properly. The local authority collection service decided from the very first day that access to the estate was inadequate. They simply refuse to provide a service. The rubbish has to be collected by the caretakers who try to remove rubbish from the estate with inadequate materials and out of date plant. Tenants leave rubbish in the wrong places. Another design-related problem is the provision, or lack of provision, of car parking. But here again it is not simply a matter of design. Underground parking bay: are provided, but they are not used. Can litter the estate (and obstruct the access for service vehicles) partly because the under ground bays are not considered to be safe places to leave cars. There is, however, an other reason: the rent for these spaces is high and a tenant in arrears is not allowed to begin renting a garage. The individual dwellings also come in for criticism. Curiously it is not the flats and maisonettes that are most disliked, but the two-storey houses with gardens. They are beset by technical problems, including damp, leaking roofs, poor sound insulation, problems with drainage, solar heal gain, breakdown of heating systems and poorly designed windows. John Thompson proposes to set up a maintenance programme to solve these problems - rubbish collection, car parking and technical failures, which are certainly design related. The report also proposes a radical reorganisation of space, reversing the orientation of the houses, putting bedrooms on the first floor rather than the ground floor and providing pitched roofs. These radical proposals are in line with current theories about space syntax. This is an important report. Its main general conclusion is that for a community to live in harmony with its environment, there must be both physical and social balance. Architects should take account of the latter as well as the former. _________________ Vocabulary: a tenant a headquarter 18

to be out of touch with smb a consequence disastrous a breakdown an estate to be dissatisfied with smth a rubbish a caretaker to obstruct to be in arrears a leaking roof a pitched roof to take account of Canterbury Canterbury is situated in Kent, 62 miles of London. It lies on the river Stoir. It was a Roman-British town, named Durovernum, a rich town on the road from the Kentish ports to London. The city, known by the Saxons as Cantwaraburh, the town of the men of Kent, was the metropolis of Ethelbert's Kingdom. The first basilican church was founded as a Benedictine Monastery on the site of a Romano-British church in 597 under Ethelbert, the fourth Saxon King of Kent whose wife Bertha was a Christian. It was burnt by waves of pagan invaders and by fire. It was again destroyed at the time of the Conquest. Work on a new cathedral and Benedictine Abbey was begun in 1070, completed in seven years and based on that of the Conqueror's own abbey at Caen. It was not long before this church became too small for the seat of the Primate* and a choir of over a hundred monks, so the eastern limb was enlarged and remodelled between 1096 and 1115. Much was again destroyed by fire in 1174. A Frenchman was chosen as master-mason for the reconstruction, William of Sens, who may or may not have taken part in the building of his native cathedral a few years earlier. The degree of French influence in the design of the new choir is not clear. The stone was brought from Caen by sea and river to within three miles of the cathedral. Some describe it "not quite the character of the Cathedral at Sens", others as "made in France". The fact remains that in 1174 Willam of Sens took up the work of rebuilding and in 1178 he fell from a scaffold. Then another William, the Englishman, carried on the work and completed it in 1184. One sees French elements in the Canterbury design - the great projection of the buttresses, the characteristic lancets, coupled columns, etc., there is at the same time much that is indigenous and prophetic of the English vernacular of the next century: employment for the first time of brown Purbeck marble for detached shafts and stringcourses, etc. The monks had required that their choir was to be rebuilt on the Anglo-Saxon lines, but it seems, that the work, as it stands, represents a compromise, not uncharacteristic of English cathedral art, between the wishes of the

19

patrons, the natural tastes of a French master-mason, and the instincts of native craftsmen. Four years before the fire of 1174 the most significant event in the medieval history of the cathedral had occurred. On the 29th of December 1170 Thomas Becket, appointed archbishop by Henry II, whose friend he had been, was killed by four Henry's knights inside the cathedral. Four years later Thomas was canonized and so arose the cult of St Thomas the Martyr. Thousands of pilgrims came to Canterbury for 300 years to see his shrine. In 1220 his body was transfered from the crypt to the Trinity Chapel east of the high altar. In 1376 a new nave began to be constructed. The Perpendicular central tower, begun in 1495, is the most notable feature of the exterior. It rises in two stories to a height of 235 ft from the ground, and is known as Bell Harry Tower from the great bell it contains or the Angel steeple from the gilded figure of an angel which formely adorned it. The Perpendicular nave is flanked with massive buttresses, rising in tiers. The south-west of these towers is an original Perpendicular structure, while the northwest was copied from it in 1834-40, replacing the Norman tower which had carried a spire and had become unsafe. The cathedral has double transepts, and the projecting chapel east of the south-east transept is known as Anselm's tower. The cathedral terminates eastward in a graceful apsidal form (Trinity Chapel), with the final addition of the circular eastern chapel built by William the Englishman, and known as the Corona of Becket's Crown. In the centre of the Trinity Chapel, situated behind the altar, stood the shrine o St Thomas of Canterbury. It was destroyed under Henry VIII in 1538. The north-west transept is said to be the actual scene of hi murder, the spot where he fell is shown on the floor, but this part of the building is o later date than the tragedy. In most English cathedrals the choir is separated from the nave by a screen, a Canterbury the separation is marked not only by the screen but also by a broad flight of steps leading up to the screen, the choir floor (but not its roof) being much higher than that of the nave. In the choir (late 12th century) arches are both round and pointed, a remarkable illustration of the transition between the Norman and Early Engish. The organ is not seen, being hidden in the triforium and played from the choir. The Lady Chapel and so-called Warrior Chapel were added during the fifteenth century. The north tower chapel is called St Andrew's. Among the remains of the monastic buildings we may mention the Norman ruins of the infirmary, the fine two-storey treasury and the lavatory tower, Norman in the lower part and Perpendicular in the upper. The cloisters are of various dates. There is also a chapter-house and a modern library. The archbishop of Canterbury Cathedral of Christ Church is Primate of all England. _________________ Vocabulary: a pagan invader a limb 20

to be remodelled a master-mason a scaffold coupled columns a buttress a lancet indigenous prophetic an archbishop a shrine a pilgrim angel steeple a triforium an apsidal form Winchester Winchester is situated in Hampshire, 66.5 miles south-west from London, on the banks of the River Itchen. The history of the earliest Winchester (Winton) is lost in legend; tradition dates it 99 years before the first building of Rome. Earthwork and relics show that the Itchen valley was occupied by the Celts, and it is certain from its position at the centre of six Roman roads and from the Roman relics found there that the White City of the Celts was an important Romano-British town. The name of Winchester is linked with that of King Arthur and his knights, but its historic greatness began when it became the capital of Wessex. It’s importance was increased by the introduction of Christianity. When the kings of Wessex became the kings of England, Winchester became, in a sense, the capital of England, though it had a rival in London, which was more central in position and had greater advantages. Under Alfred it became a centre of learning and education. It was the seat of Canute's government. In 1043 Edward the Confessor was crowned in the old minster. Under the Norman kings it was one of the earliest centres of woollen trade. But under Henry I London finally replaced Winchester as the capital of England and then the woollen trade drifted to east of England. During the Civil War* the city suffered much for its loyalty to Charles I. The legends place the foundation of a great Christian church at Winchester in the second century. The original Saxon church, the shrine of St Swithun (lived in the 9th century), seems to have been enlarged circa 963. In 1079 the history of the present Cathedral of the Holy and Indivisible Trinity began with the demolition of the old church and the foundation of a vast new stone building on typical Anglo-Norman lines. It was formally consecrated in 1093. The central tower collapsed in 1107 and it was attributed to the fact that King William Rufus, who had fallen to the arrow in the neighbouring New Forest, had been buried here seven years earlier in 1100, in spite of his unchristian life. The tower was reconstructed. In 1189 the church was extended eastward by the addition of a rectangular retro-choir in place of the Norman 21

apses. But the greatest period of building was in the fourteenth century under the famous William of Wykeham, Bishop of Winchester. The cathedral lies in a wide and beautiful walled close. Now it has a low central tower and consists of a nave, transepts, choir and retrochoir, all with aisles, and a LadyChapel forms the eastward termination. The cathedral is the longest in England (556 ft). _________________ Vocabulary: a relic a knight a rival a woolen trade a demolition to be consecrated in to collapse an arrow a retrochair a walled close Lexical test 1. The first London Bridge was built… a) of wood b) of stone c) of cast iron 2. Who was the architect of the Clore Gallery? a) James Stirling b) Michael Wilford c) Sidney Smith 3. The Tate Gallery is… a) the Natural History Museum b) the National Gallery of British Art c) the National Portrait Gallery 4. What problem did the architects have to solve, designing the Maiden Lane Housing Estate? a) the system of rubbish collection b) the lack of provision c) the migration of population 5. The Winchester cathedral was devoted to… a) Edward the Confessor 22

b) William of Wykeham c) King Arthur 6. Where is Canterbury situated? a) on the outskirts of London b) in Kent c) at Caen 7. Canterbury (in the 12th century) was… a) a Benedictine Monastery b) a Benedictine Abbey c) a cathedral d) a town 8. What cathedral is the longest in England? a) Salisbury b) Canterbury c) Winchester 9. What structures were situated on the old London Bridge? a) shops b) the Chapel of St. Thomas c) churches 10. What lighting is used in the Tate Gallery? a) artificial light b) natural light c) light’s combinations

III. Structural design Architectural Planning The architect usually begins to work when the site type and cost of a building have been determined. Planning the environment. The natural environment is at once a hindrance and a help, and the architect seeks both to invite its aid and to repel its attacks. To make buildings habitable and comfortable, he must control the effects of heat, cold, light, air, moisture, and dryness and foresee destructive potentialities such as fire, earthquake, flood, and disease. The placement and form of buildings in relation to their sites, the distribution of spaces within buildings, and other planning devices discussed below are fundamental elements in the aesthetics of architecture.

23

Orientation. The arrangement of the axes of buildings and their parts is a device for controlling the effects of sun, wind, and rainfall. Within buildings, the axis and placement of each space determine the' amount of sun it receives. Orientation may control air for circulation and j reduce the disadvantages of wind, rain, and snow. The characteristics of the immediate environment also influence j orientation: trees, land formation, and other buildings create shade and! reduce or intensify wind, while bodies of water produce moisture and j reflect the sun. Architectural forms. Planning may control the environment by the' design of architectural, forms that may modify the effects of natural forces. I Colour. Colour has a practical planning function as well as an expressive I quality because of the range of its reflection and its absorption of solar { rays. Since light colours reflect heat and dark colours absorb it, the choice of materials and pigments is an effective tool of environmental control. Materials and techniques. The choice of materials is conditioned by their own ability to withstand the environment as well as by properties that make them useful to human beings. One of the architect's jobs is to i find a successful solution to both conditions; to balance the physical and economic advantages of wood against the possibility of fire, termites, and mold, the weather resistance of glass and light metals against their high thermal conductivity, and many similar conflicts. Interior control. The control of the environment through the design of the plan and the outer shell of a building cannot be complete, since extremes of heat and cold, light, and sounds penetrate into the interior, where they can be further modified by the planning of spaces and by special conditioning devices. Temperature, light and sound are all subject to control by the size and shape of interior spaces, the way in which the spaces are connected, and the materials employed for floors, walls, ceilings, and furnishings. Today, heating, insulation, air conditioning, lighting, and acoustical methods have become basic parts of the architectural program. Planning for use. While environmental planning produces comfort for the senses (sight, feeling, hearing) and reflexes (respiration), planning for use or function is concerned with convenience of movement and rest. Differentiation. The number of functions requiring distinct kinds of space within a building depends not only upon the type of building but also upon the requirements of the culture and the habits and activities of the individual patrons. A primitive house has a single room with a hearth area, and a modern one has a separate areas for cooking, eating, sleeping, washing, storage, and recreation. A meeting-house with a single hall is sufficient for Quaker religious services, while a Roman Catholic cathedral may require a nave, aisles, choir, apse, chapels, crypt, sacristy, and ambulatory. Economic planning. Major expenses in buildings are for land, materials, and labour. In each case they are high when the commodity is scarce and low when it is abundant, and they influence planning more directly when they become restrictive. When land coverage is limited, it is usually necessary to design in height the space that otherwise would be planned in breadth and depth, as in the ancient Roman insula 24

(apartment houses) or the modern skyscraper. When the choice of materials is influenced by cost, all phases of architectural design are affected, since the planning procedure, the technique, and the form of buildings are dependent on materials. High labour cost influence the choice of techniques and, consequently, of materials. _________________ Vocabulary: hindrance to repel to foresee earthquake flood axis device (dis) advantage to influence to modify to withstand resistance extreme the senses respiration patron meeting-house aisle chapel crypt sacristy ambulatory commodity scarce abundant otherwise Lexical test 1.

The architect usually begins to work when ... a) a project of a building has been made b) the site type and cost of a building have been determined c) the choice of materials has been made

2.

The effects of sun, wind and rainfall are controlled by... a) the height of a building b) aesthetical usage of spaces 25

c) the arrangements of the axes of buildings and their parts 3.

The choice of materials and pigments is... a) an effective tool of environmental control b) a device for distribution of spaces c) not connected with the function of a building

4.

Extremes of heat and cold, light and sounds ... a) are regulated by fundamental elements of the aesthetics of architecture b) penetrate into the interior c) are of less importance for interior control

5.

The number of functions depends not only upon the type of building but also upon... a) the site type b) the amount of sun it receives c) the requirements of the culture and the habits and activities of the individual patrons Art Nouveau

An individual and highly romantic reaction to the currents of eclecticism and academic classicism (Ecole des Beaux-Arts in late 19lh century architecture) Art Nouveau was a diverse phenomenon which affected most of Europe and, some historians argue, even North America between 1890 and 1910. It was known at the time under a variety of rubrics — for instance, in England it was the "modern style", in Germany it was called the Jugendstil, in France it was known variously as the "style nouille" (noodle style), "style Guimard" (after Henry Guimard, who designed the decorative entrance to the Paris Metro Stations in 1899), or Art Nouveau. The Austrian named it Secessionsstil; in Italy it was the "stile Liberty" or "stile floreale", and in Spain "modernisme". Often referred to simply as the style 1900, Art Nouveau expresses an essentially decorative trend that aims to highlight the ornamental value of the curved line, which may be floral in origin (Belgium, France) or geometric (Scotland, Austria). This line gives riseto two-dimensional, slender, undulating and invariably asymmetrical forms. The applied arts were the first to be affected (textiles by William Morris, 1880; wood-engraved title page to Wren's City Churches by Arthur H. Mackmurdo, 1883; vases by Emile Galle, 1884; ornamental lettering by Fernand Khnopff and Georges Lemmen, 1890-1; mural tapestry The Angels' Vigil by Henry van de Velde; 1893; furniture by de Gustave Serrurier-Bovy, 1891). Among the most characteristic architectural products of Art Nouveau, widely differing in purpose and plastic expression, were: the houses built by Paul Hankar in Brussels (1893—1900); works of Willem Kromhout (1864—1940), Th. Sluyterman 26

(1863—1931) and L. A. H. Wolf in the Netherlands; Guimard's Castel Beranger (1897—1898), entrances to Metro^stations and the auditorium of the Humbert de Romans building (1902, destroyed) in Paris; Horta's Maison du Peuple (1896—1899, destroyed) and the former Hotel Solvay (1895—1900) in Brussels. In Russia Art Nouveau is represented in the works of F. Shekhtel, (S. Ryabushinsky's Mansion (1900), the building for the newspaper " Utro Rossii" (Moscow, 1907). All these works are the result of aп attempt to put an end to imitations of past styles; in its place is offered a florid type of architecture, which exploits craft skills, using coloured materials (faience cabochons, stoneware, terracotta panels, stained glass), exotic veneers, moulded stonework, grilles, balconies, and tapered brackets in wrought iron; and burgeoning with asymmetrical door — and window-frames, bow and horseshoe windows, etc. In the later phases of Art Nouveau, facade decoration was accompanied by a powerful plastic treatment of the whole building, either by the dramatic accentuation of individual parts of the structure (Glasgow Art School, 1898-1909, by Mackintosh) or by the sculptural modelling of the whole building mass (Werkbundtheater, Cologne, 1914 by van de Velde; Casa Mila, Barcelona, 1905—1910, by Gaudi). Art Nouveau was first and foremost an aesthetic undertaking, based on social theories and inspired by aesthetes such as Ruskin, Morris and Oscar Wilde. It was born of a reaction to the rise of industrialism. Distinguished architects of the Art Nouveau style, such as Mackintosh, Behrens and the Viennese masters became pioneers of modern architecture, it is true, but with their forward-looking buildings they overstepped the frontiers which the style had imposed upon its adherents. _________________ Vocabulary: current diverse to argue rubric instance noodle entrance to refer to highlight two-dimensional undulating the applied art to engrave former attempt to offer 27

craft stoneware stained glass veneer wrought iron horseshoe treatment to inspire to impose adherent Lexical test 1. Art Nouveau was a reaction to the currents of eclecticism and academic classicism at the turn of the 19th century. a) Art Nouveau was a reaction against Neo-Gothic b) It was a reaction to the currents of eclecticism and academic classicism in the late 19th century 2. This style has a lot of rubrics. a) It is often referred to as "style 1900" b) It was the "modern style" in England c) It is known under a variety of titles 3. The curved line gives rise to invariably asymmetrical forms. a) A florid type of architecture exploits craft skills b) The whiplash line creates constantly asymmetrical forms 4. Fyodor Shekhtel is the main representative of Art Nouveau in Russia. a) Ryabushinsky's mansion by Fyodor Shekhtel is one the best works of Art Nouveau in Russia b) Mackintosh is an outstanding representative of Art Nouveau in Scotland 5. Art Nouveau was inspired by Ruskin, Morris and Oscar Wilde. a) The echoes of Gothic had a considerable effect on the age and emerged in some Art Nouveau works b) Art Nouveau was an aesthetic undertaking c) Ruskin, Morris and Oscar Wilde were the inspirers of Art Nouveau The Schnabel Residence In order to appreciate the creative universe of Frank O. Gehry it is necessary to understand a number of factors which affect his designs for houses in a very special way. Firstly, his choice since the beginning of his career of a particular area (California), his 28

efforts to provide a solution to some very specific social needs, and his acceptance of the limitations imposed by modem production systems. This Canadian architect is considered to be one of the proponents of impoverished technology, advocating the use of low cost, industrially manufactured materials (chain link, corrugated cardboard and metal siding). His work has made him one of the most acclaimed architects in the world. Gehry was named 1989 Laureate ofthe Pritzker Architecture Prize, the most prestigious award for architectural achievement presented to a living architect. One of the most famous examples of Gehry's work in the field of domestic architecture is the Schnabel Residence in Brentwood (Los-Angeles). The construction of this building was started in July 1987 and it took almost two years to complete. The building's unusual morphology and atypical typology and the surprising choice of materials were made possible by the comprehension of the clients, who were more concerned with the cultural, aesthetic and pragmatic aspects of the process of habitation than by any mindless submission to conventional mores and general trends in domestic architecture. The site selected was a property of approximately 530 square metres with no remarkable topographic features. At one end, the roughly rectangular site terminates in an irregular trapezoidal area where the slope was cut back to form a lower, more private terrace. The architect responded to the elaborate building program (private, service and leisure areas) in addition to garage and outdoor installations with a solution based on independent structures. By changing both the shape and surface, each of these buildings (laid out in a wide two-level garden) is infused with its own, specific architectural style, and the objects are played against each other in a tense and expressive spatial and sculptural dialogue. Attached to the northern side of this cruciform element is a two-storey building housing a variety of rooms. The kitchen is situated on the ground floor of this rectangular structure (closely connected to the main dining room), and at the centre there is a doubleheight skylit family room. The ground floor plan is completed by a small study. The upper floor contains two bedrooms with bathrooms. This block has been finished on the outside with a simple gray stucco used to create an intentional visual austerity which contrasts with the artificiality of the lead finish on the adjacent block. In the entrance area on the western side of the property connected to the street, a small stucco box has been constructed to house the garage. A smaller structure, which has been placed on top of this and rotated at an angle, contains the staff living quarters. Gehry has designed an arcade supported by pillars clad in natural copper, which crosses the garden to link this building to a door into the kitchen. The focal point of the eastern part of the property is a shallow lake which echoes the trapezoidal shape of this end of the site and provides a charming setting for the more private areas of the house. This is the area where the slope was cut back in order to form a lower, more private terrace, and to improve the views from the rest of the site. The play of the reflections mirrored in the sheet of water enhances the fascinating visual effect of the whole. 29

_________________ Vocabulary: proponent impoverished corrugated cardboard comprehension mores to respond leisure to infuse staff stucco focal shallow setting sheet Lexical test 1. Frank O.Gehry is considered to be one of the proponents of... a) high cost technology b) informational technology c) impoverished technology 2. He advocates the use of low cost, industrially manufactured ... a) materials b) goods c) skyscrapes 3. In 1989 Frank O.Gehry was awarded with ... a) the Builder's Choice Grand Award b) Distinguished Architecture Award c) the Pritzker Architecture Prize 4. The Schnabel Residence's unusual morphology, atypical typology and the surprising choice of materials were made possible by the comprehension of the... a) authorities b) clients c) public 5. At one end, the roughly rectangular site terminates in an irregular... area. a) trapezoidal 30

b) pentagonal c) quadrangular Design Criteria When the basic theory of static equilibrium for forces acting in any direction was first applied in structural design in the second half of the 18lh century, the criterion of a safe design seemed obvious enough. The structure would be safe if it could support its own weight, and perhaps the weight of a wagon passing over it, or of machinery on a floor, without overloading any crucial element — arch rib, beam, column, masonry pier, or tie rod. The strength of these elements could be assessed by loading specimens to failure, or by similarly loading specimens of the material if the strength of the element could then be estimatedby simple proportion. For greater safety, some factor would be allowed on the measured or estimated strengths. During the 19'h century, loads other than the weight of the structure itself became more important. The development of elastic theories of the behavior of the main structural elements and some complete structural systems called for further criteria to bypass the reliance on strength tests of these elements and systems. Tests were made to determine both wind loads and the effective loads imposed by moving locomotives, but the data obtained remained of limited and somewhat questionable validity for want of adequate understanding of the nature of these dynamic loads. In the first half of the 20th century, design criteria for particular classes of structure — like steel frames and reinforced-concrete frames — were progressively codified for normal design in terms of design loads and allowable stresses. In the last few decades, far more again has been learned about likely loads, particularly wind loads and earthquake shocks. _________________ Vocabulary: equilibrium obvious wagon masonry pier tie rod specimen to failure to estimate to allow to bypass reliance frame

31

Lexical test 1. 1.The basic theory of static equilibrium for forces acting in any direction was applied in ... a) architectural design b) structural design c) town planning 2. The structure would be safe if it could support its own weight, and perhaps the weight of... passing over it. a) a train b) a bicycle c) a wagon 3. For greater..., some factor would be allowed on the measured or estimated strengths. a) ability b) beauty c) safety 4. Loads other then the weight of... became more important. a) the arch b) the structure c) the machinery 5. Far more again has been learned about wind loads and ... a) earthquake shocks b) oxide rains c) floods The Millenium Dome Since the Greenwich meridian and thus the world time finds its origin in Greenwich, in Britain the idea has been conceived that it should be the place where the world shoufcf-celebrate its step into the new millenium. The centre of the Millenium celebrations is the Millenium Dome, the largest single public assembly building in the world. The architect of the Dome, Richard Rogers, is famous for such works as the Porttpidou Centre, opened in 1977, and the Lloyd's of London building. The Dome is an exceptional example of building engineering. The Dome itself provides an enclosure for the exhibition to protect the exhibits and the visitors from the weather.

32

The concept of the Dome's roof is apparently very simple. Tensioned steel cables are arranged radially on the surface of the dome and held in space by hangar and tie down cables at 25m intervals. The surface is defined as a spherical cap. Between the cables, tensioned coated fabric is used as cladding. Both the tensioned cables and cladding carry the loads by deflection accompanied by increase in tension. The forces in the cables, 40 tonnes in each radial line have to be resisted at the centre where they come together and at the boundary where they are anchored. In the centre of the roof there is a 30m diameter tension ring consisting of 12 — 48mm diameter cables which carry a total of 700 tonnes. At the edge the forces are resisted by vertical ground anchors going 12m down into the gravel layers and horizontally by a concrete ring beam 1000m in circumference which carries the loads in compression. _________________ Vocabulary: to conceive millenium cable fabric cladding deflection to resist to anchor layer circumference Lexical test 1. The world time finds its origin in ... a) Manchester b) Paris c) Greenwich 2. The centre of the Millenium celebrations is... a) the Millenium Dome b) The Pompidou Centre c) the Colosseum 3. The concept of the Dome's ... is apparently very simple. a) exterior b) interior c) roof

33

4. The tensioned cables and cladding carry the loads by deflection accompanied by increase in ... a) tension b) thickness c) compression 5. ...the forces are resisted by vertical ground anchors. a) at the centre b) on the ground c) at the edge The Kinemax The application of the most advanced communications technologies is the common denominator of all of the areas in the magnificent Futuroscope Park in Vienne, France. The area is a cross between a large science museum and an impressive amusement park where science and fantasy have set aside their mutual antagonism. It contains some of the most popular attractions in the park such as the Communications Pavilion and the Futuroscope Pavilion (from which the park takes its name). It also includes the Kinemax, which presents information through all of the senses so that the public may see, hear, touch and feel progress for themselves. Inspired by mineral forms, the Kinemax is one of the most spectacular buildings constructed in Europe during the last decade. The simulation of the appearance of a rock crystal was achieved by a carefully studied structural layout which translates the original idea into architectural forms through a three-level construction process. The primary structure is a steel «box» which defines the limits of the interior space. This box is waterproof and provides a stable base for the whole construction. The structure is mainly composed of beams placed horizontally and at a 60° angle which bear the horizontal load of the secondary structure composed of the «crystals.» The inside of the box is lined with an acoustic insulation for the cinema. The secondary structure, made of galvanised steel, is a latticed frame which duplicates the appearance of a quartz crystal by superimposing a series of hexagonal prisms on the primary box-like structure. Finally, the tertiary structure serves as a base for the dark mirrors which are fastened to the secondary structure and define the external appearance of the building. The use of a system of openjoint fastening devices made it possible to maintain all the correct angles of the figure. This was necessary to provide the required degree of realism. A final result achieved by this combination of structures is a gigantic functional sculpture whose dark mirrore d facades reflect reality to a syncopated rhythm. This visual fragmentation of the world around is a metaphor for the very essence of cinema, in which the fuzzy borderline between fiction and reality plays an important role . 34

The effect produced by this impressive exterior is merely a prelude to the sensations which are aroused inside the building. The Kinemax screen is the largest in Europe. It has a surface area of 600 m2 which is roughly the size of a tennis court set on one end. Images projected onto this screen assume incredible proportions which seem to engulf the spectator. Denis Laming has pushed this capacity to surprise the visitors to its limits, and after the projection of the movie the dream continues. Before the astonished gaze of 400 spectators, the gigantic screen, which minutes before had caused a sensation owing to its huge dimensions, rises up, inviting the spectators to fuse into a single concept the virtual image which they have just witnessed with the real image now before their eyes. In the space of a few minutes, the screen is transformed into the exit of the Kinemax leading the spectators towards the immense Lake of the City of the Future, where the spectacle continues. Thus the designer of the Kinemax has managed to make the illusion last long after the visitors have left the building. In technical terms, the magical elevation of the screen is effected by means of a unique procedure in which two large hydraulic jacks lift the 18-ton weight of the screen. This apparently simple solution fulfilled two of the basic objectives of the architect: on one hand his desire to use every possible device to create a fantastic atmosphere that would capture the imagination of the visitors; on the other hand, he wished to create a totally hermetic structure which would exude a certain air of mystery and ambiguity. Replacing the traditional entrance —which would have betrayed Laming's original conception-with an access totally camouflaged between the facades of the building was the perfect solution. The formal audacity of the Kinemax, a homage to the ordered structure which nature has stamped on each of its manifestations, is a worthy prelude to the incredible sensations offered in the interior. _________________ Vocabulary: denominator to set aside simulation latticed secondary tertuary superimpromissing fuzzy to engulf to cause to fuse to exude ambiguity audacity manifestation 35

Lexical test 1. Futuroscope is the magnificent... a) ship b) suburban residence c) park 2. This recreational area is in... a) France b) Belgium c) Austria 3. The Kinemax is inspired by ... a) artificial fountains at Versailles b) mineral forms c) the Constructivism motives 4. The primary structure is a ... "box". a) wood b) concrete c) steel 5. The box provides a stable base for the whole ... a) construction b) structure c) frame 6. The secondary structure is made of... a) reinforced concrete b) galvanized steel c) corrugated cardboard 7. The tertuary structure serves as a base for the ... a) prisms b) beams c) dark mirrors

IV. Designer secrets Geoffrey Bradfield WHEN I BEGIN WITH A NEW CLIENT, I ALWAYS...

36

Try best to gauge expectations. It is helpful when they have a reference – say, a project of mine that they've liked. I never second-guess clients' inclinations, because, ultimately, I want to fulfill their aspirations. Time spent with a client at the beginning is invaluable. THE MISTAKE MOST PEOPLE MAKE WHEN DOING THEIR OWN DESIGNING IS... Failing to adequately visualize the result. A lack of objectivity can be a major stumbling block. And confusion can be disastrous, as too many ideas enter the picture. There should be design cohesion in all the rooms. It need not be obvious, but, ideally, a subtle conceptual signature should unite the spaces. THE

M OS T UN US U AL R E QU ES T FROM A CLIENT WAS ...

For a 7,000-square-foot penthouse we recently completed in Chicago. The client, a major art collector, requested that we design the apartment around an 18-by12-foot Frank Stella construction (the apartment had 17-foot-high ceilings). We created a dramatic entrance hall to house the piece, but, since this was on the 66th floor, we were unable to transport it by elevator. A helicopter for a hoist, bureaucratic red tape, inclement weather scrubbing several attempts...and, still, there's nothing as rewarding as pleasing a discerning client. F OR SOMEONE WHO WANTS A BIG LOOK ON A SMALL BUDGI TODAY... One of the least expensive guarantees of glamour is the mirror. It immediately introduces a sense of infinity and grander whether it's a traditional wall-mounted gilt frame above a mantel or an entire contemporary surface installation reflecting a cityscape. The cost is negligible, and the impact is immeasurable. ONE OF THE BEST THINGS RIGHT NOW TO COLLECT FOR AN INVESTMENT IS... Contemporary art. I always try to influence my clients, if they are not already collectors, to consider this field of acquisition. With few exceptions, the investments have proved to be significantly rewarding. IN THE AREA OF HOME ELECTRONICS, PEOPLE ARE ASKING FOR... Crestron or similar systems. One can walk into a room and, with a single device, adjust the lighting, temperature and music, and even light the fireplace. IN THE NEXT TEN YEARS THE MOST IMPORTANT THING IN DESIGN WILL BE... A conspicuous austerity. I believe we will look back on the last 15 years as a golden age of design, not unlike the Edwardian era. We are on the brink of extraordinary change due to the lightning growth of technology. I don't believe that the next generation will slavishly return to re-creating traditional interiors. But what will not change is our basic need for comfort.

37

MY BIGGEST DESIGN MISTAKE WAS... Getting involved in the bookkeeping. I am 90 percent visual, and figures have always been a stumbling block for me. I can visualize scale exactly, but I simply cannot remember a number. My design team implores me not to do quotes. MY FAVORITE ROOM TO DESIGN IS... All of them: It's the clean slate that is so stimulating for a creative mind. An entrance hall as a starting point dictates, to some degree, what will follow. I always enjoy capturing the spirit of an interior by exploiting, and sometimes exaggerating, that first venture into the space. But each room has its unique appeal. I CHANGE MY OWN INTERIORS... Rarely. When I complete an interior for myself, I consider it a finished canvas. It's been finely edited. I move on and find that every time I relocate, I need less. I'm attached to few possessions. I approve of Joan Crawford's disciplinary ruling for her children that no matter how many gifts they received at Christmas, they were to choose just one. For some perverse reason, this always made perfect sense to me. Naturally, I do not apply such an austere dictum to my clients. THERE ARE MANY RULES DESIGNERS SHOULD BEAR IN MEND. ONE IS... The dictates of location. We so easily forget environment. I don't believe that transferring an urban apartment interior to a Tudor country house, or the reverse, is ever successful. I think one should be sensitive to the architecture and vicinity of a structure and approach the design in keeping with that definition. THE ORDER I FOLLOW WHEN I DESIGN IS... The first phase is usually about layout and scale. We seldom show fabrics to a client in the initial presentation, and we deliberately have our renderings executed in black and white. This allows us to introduce several color schemes without clients believing that one is our first choice. There are exceptions. One is designing a room around a previously acquired work of art or an important antique. Fortunately, decorating is not an exact science. EVERY HOME MUST HAVE. .. Comfort. In the end, it is the basic requirement. Billy Baldwin was quoted toward the end of his life as saying, "Lately, I have been thinking how comfort is perhaps the ultimate luxury." This says it all. DESIGN LIKES AND DISLIKES... Likes: Reflecting a 21st-century energy and aesthetic. Dislikes: Creating period interiors. Although I have great appreciation for furnishings and influences from the past, it is important that my interiors represent our moment in time.

38

MY PERSONAL DREAM HOUSE WOULD BE... A more ambitious house than the ones I have previously built, one along classic Palladian lines. This house of my dreams is already designed and, in fact, already has a name: Temple Mount. As in my wonderful childhood home beside the Indian Ocean, the property would be elevated, with panoramic views of the sea. WHO OR WHAT HAS INFLUENCED MY STYLE... There have been two major influences. The first was Le Corbusier. His Villa Savoye outside of Paris changed me forever as a teenager. I had never seen architecture before, nor have I since, exhibiting such purity. It set a standard of design integrity that has followed me throughout my career. More recently, the designs of the 1940s master Gilbert Poillerat have helped focus my creative direction. THREE ESSENTIALS FOR ENTERTAINING ARE... A congenial atmosphere is elementary, and I believe that lighting establishes this more than anything else. No one can relax under a spotlight. Traffic flow is also important when serving and seating guests. No one enjoys being repeatedly bumped and jostled. And in my book, a good chef is de rigueur. IF I COULD LIVE ANYWHERE (OTHER THAN WHERE I AM), IT WOULD BE... The Mediterranean—I've always had romance with it. The south of France, the Italian Riviera, North Africa...the all have immense appeal. If I could choose one spot as a permanent escape hatch, it would be Capri. The beauty of the island never disappoints.

Thad Hayes WHEN I BEGIN WITH A NEW CLIENT, I ALWAYS... Attempt to understand their expectations, wishes, dreams and desires. I look at their existing home or homes to see how they live. I inventory any furniture and art that they are considering reusing. THE MISTAKE MOST PEOPLE MAKE WHEN DOING THEIR OWN DESIGNING IS... Not to self-edit, which is the most difficult thing to do. THE MOST UNUSUAL REQUEST FROM A CLIENT WAS... Nothing strikes me as unusual. FOR SOMEONE WHO WANTS A BIG LOOK ON A SMALL BUDGET TODAY... 39

I would use muslin curtains and natural canvas upholstery and a great, rich paint color—not bright, not bold. ONE OF THE BEST THINGS RIGHT NOW TO COLLECT FOR AN INVESTMENT IS... Older antiques—17th- to 18th-century English or French. Since 20th-century furniture is bringing record prices at auction houses, I would look at second-tier designers from the mid-20th century. IN THE AREA OF HOME ELECTRON¬ICS, PEOPLE ARE ASKING FOR... Lots of gadgets and flat screens. Audiovisual systems. Computers everywhere (in baths, dressing rooms, etc.). IN THE NEXT TEN YEARS THE MOST IMPORTANT THING IN DESIGN WILL BE... Comfortable furniture and ease of living. Yoga and meditation rooms are becoming more important to clients' lifestyles. MY BIGGEST DESIGN MISTAKE WAS... And is the old lampshade dilemma. They’re really hard to get perfect. MY FAVORITE ROOM TO DESIGN IS... The entrance hall, library, living room and master bath—in that order. I CHANGE MY OWN INTERIORS... Not in any major way and not often, but I constantly make small changes. THERE ARE MANY RULES DESIGNERS SHOULD BEAR IN MIND. ONE IS... To break the rules. THE ORDER I FOLLOW WHEN I DESIGN IS... I start out working on a visual concept and floor plan simultaneously. Then come the architectural materials, the furniture and then the fabrics. Though I tend to think about everything at once and as a piece. EVERY HOME MUST HAVE. .. A good sofa and comfortable chairs. DESIGN LIKES AND DISLIKES... I like any space that's easy to understand. It could be by John Pawson or by Mario Buatta, who represent opposite ends of the design spectrum. Clarity is the key. I like keeping myself open, as it seems the minute I say I dislike something, I start looking at it differently—and I'll find a situation where it might be appropriate. 40

MY PERSONAL DREAM HOUSE WOULD BE... A maintenance-free, simple, elegant, light-filled box. WHO OR WHAT HAS INFLUENCED MY STYLE... Mid-20th-century American architects and decorators; minimalist design from the ’60s and ’70s. THREE ESSENTIALS FOR ENTERTAINING ARE... Great food, lots of candles and, in winter, a fireplace. IF I COULD LIVE ANYWHERE (OTHER THAN WHERE I AM), IT WOULD BE... The American Southwest.

Craig Wright WHEN I BEGIN WITH A NEW CLIENT, I ALWAYS... First assess the architectural background within which we will be working. Then I review photographs of the interiors with the client to see how I can best interpret their goals. THE MISTAKE MOST PEOPLE MAKE WHEN DOING THEIR OWN DESIGNING IS... A lack of consistent or focused direction. THE MOST UNUSUAL REQUEST FROM A CLIENT WAS... There have been several: To have the openings in the hedges cut wide enough to accommodate Denise Hale's ball gowns. To have the niches in the showers tall enough to hold a champagne bottle. To aircondition the doghouse. To install permanent outdoor heaters to allow for subtropical plants in a cold climate. To stop a furniture delivery truck halfway from New York to California and put the contents on a plane to arrive in time for an important dinner party. FOR SOMEONE WHO WANTS A BIG LOOK ON A SMALL BUDGET TODAY... I recommend Asian antiques and accessories. ONE OF THE BEST THINGS RIGHT NOW TO COLLECT FOR AN INVESTMENT IS... Fine 18th-century French furniture.

41

IN THE AREA OF HOME ELECTRONICS, PEOPLE ARE ASKING FOR... Integrated lighting systems. IN THE NEXT TEN YEARS THE MOST IMPORTANT THING IN DESIGN WILL BE... Faster deliveries. MY BIGGEST DESIGN MISTAKE WAS... Furniture that couldn't fit through the door. MY FAVORITE ROOM TO DESIGN IS… The library. I CHANGE MY OWN INTERIORS... After they have been photographed and lblished. THERE ARE MANY RULES DESIGNERS SHOULD BEAR IN MIND. ONE IS... Never place an order without the client's approval. THE ORDER I FOLLOW WHEN I DESIGN IS... After first coming to terms with the architecture, I look at the furniture, lighting, carpets, fabrics, window treatments and paint colors. EVERY HOME MUST HAVE... A favorite, comfortable chair with a good reading light. DESIGN LIKES AND DISLIKES... Likes: Classicism, counterpoints, nonspecific colors, antique mirrors, candlesticks, books, antique chimneypieces, boiserie, Art Deco baths, decorative ceilings, symmetry, high ceilings, tiled swimming pools, outdoor fireplaces, bare floors, trimming, chandeliers, wonderful handsewn curtains, natural fibers, gauffraged silk velvet, orchids, thermostats and smoke detectors hidden within the HVAC system, antiquities, Dislikes: Aluminum shower doors, per sonal photographs in public rooms, odd-shaped swimming pools, odd-shaped windows, exposed garage doors in full view of the house's entrance, noisy ice makers, trash compactors, small residential elevators, too much color in the kitchen, double basins within the same vanity in the bath, telephones and televisions in the living room, ceilings perforated with recessed lighting, cotton velvet.

42

MY PERSONAL DREAM HOUSE WOULD BE... A classic Palladian villa with an antique tile roof, all of the living spaces on a single floor, a multipurpose living room, and an exterior loggia with a fireplace and a view for dining. WHO OR WHAT HAS INFLUENCED MY STYLE... The California greats: Frances Elkins, Michael Taylor and Tony Hail, as well as David Adler, Billy Baldwin, David Easton and Rory Cameron. Certainly the Europeans: Stephane Boudin, Daniel Pasgrimaud, Renzo Mongiardino, Emilio Terry, Nancy Lancaster, John Fowler and Syrie Maugham. THREE ESSENTIALS FOR ENTERTAINING ARE... Candles, flowers, a wood-burning fire. IF I COULD LIVE ANYWHERE (OTHER THAN WHERE I AM), IT WOULD BE... Italy. Alexa Hampton WHEN I BEGIN WITH A NEW CLIENT, I ALWAYS... Draw a furniture plan. I think with pen and pencil. THE MISTAKE MOST PEOPLE MAKE WHEN DOING THEIR OWN DESIGNINGS... Not knowing how to prioritize, not knowing how to focus. As a consequence, I see my job as being, in large part, a filter for my clients' impulses. THE MOST UNUSUAL REQUEST FROM A CLIENT WAS... I wouldn't call myself jaded, but nothing seems unusual anymore. My feeling is, if it's important to the client, why not? FOR SOMEONE WHO WANTS A BIG LOOK ON A SMALL BUDGET TODAY... Well, there's always a can of paint—go to town! Seriously, though, one of the biggest mistakes people make is to try to copy something expensive on the cheap, which inevitably ends up looking cheap. Don't just look—think before you leap. Only do what is appropriate for the budget you have. ONE OF THE BEST THINGS RIGHT NOW TO COLLECT FOR AN INVESTMENT IS... If you like traditional, buy as much good-quality 19th-century furniture as you can before it becomes as untouchable as pieces from the 18th century have 43

become. I happen to love authentic 20th-century furniture too, but it's more problematic, for reasons of preservation. What is unquestionably a desirable patina on an older piece can just look scruffy on something modern. The best advice? If you can afford it, buy what you like without thougth of financial return and just enjoy it; some things can't—and shouldn't—be quantified or commodified. IN THE AREA OF HOME ELECTRONICS, PEOPLE ARE ASKING FOR... The biggest flat-screen television that’s about to be released, whatever size that is. There does not seem to be an upper limit to this. IN THE NEXT TEN YEARS THE MOST IMPORTANT THING IN DESIGNWILLBE... Figuring out where to put the flat-screen. MY BIGGEST DESIGN MISTAKE WAS... Whatever it was, I hope it's safely in my past. MY FAVORITE ROOM TO DESIGN… Everything except the kitchen. I CHANGE MY OWN INTERIORS... Some funny intermediate point between "constantly" and "almost never." I'm a homebody who loves her home, and there are eternal verities I will always live with (this includes my husband). There are also things with which I'm always dissatisfied, and I'm always thinking of how they might be improved. This dissatisfaction causes a kind of creative tension that is really very useful; my apartment is not only my wellbeloved refuge, it's a design laboratory, and I think my clients reap the benefits. THERE ARE MANY RULES DESIGNERS SHOULD BEAR IN MIND. ONE IS... Listen to the client, and always remember that you are in a service business. THE ORDER I FOLLOW WHEN I DESIGN IS... Furniture plan first, always, then fabrics, then paint colors. Lighting is also tremendously important and should be a considered part of the design from the very beginning. EVERY HOME MUST HAVE... Books and art. Otherwise it's a furniture showroom and not a home. DESIGN LIKES AND DISLIKES... Likes: I love anything that promotes ease and comfort. Dislikes: I loathe anything just for show.

44

MY PERSONAL DREAM HOUSE WOULD BE... A larger apartment in the building I live in now. WHO OR WHAT HAS INFLUENCED MY STYLE... First and foremost, Mark Hampton. David Hicks and Albert Hadley have also been very important influences. THREE ESSENTIALS FOR ENTERTAINING ARE... A big, deep sofa, good conversation and an ice maker. IF I COULD LIVE ANYWHERE (OTHER THAN WHERE I AM), IT WOULD BE... As I said earlier, a larger apartment in the building I live in now, but, OK, on a higher floor. Do you know of one? Otherwise, London or Paris will do nicely!

Scott Snyder WHEN I BEGIN WITH A NEW CLIENT, I ALWAYS... Start with an interview. You know within five minutes if it's going to be a good collaboration. I've been in business 20 years; clients come to me because they know my style and reputation. That first meeting is about seeing if the trust is there. I always tell the client, "We've got to make it fun. There will be times when this isn't going to go right. We have to keep perspective on what we're doing—we're not finding a cure for cancer here." THE MISTAKE MOST PEOPLE MAKE WHEN DOING THEIR OWN DESIGNING IS... It's always about scale. The most important things are scale and balance. Someone can have the best taste in the world, go to the best antiquaires, the best upholsterers, choose the best pieces—but it's all about thinking three-dimensionally, bringing it all together. The individual pieces may be lovely, but the scale will be off. THE MOST UNUSUAL REQUEST FROM A CLIENT WAS... A client called and said, "I have two projects for you: my house in West Virginia and my home in Palm Beach, and I need them both completely redone in 30 days." FOR SOMEONE WHO WANTS A BIG LOOK ON A SMALL BUDGET TODAY... Investing in a good coromandel screen is a wonderful way to give you a sense of background; it also keeps you from having to invest in paintings. You can buy one for $10,000 or $100,000. It says tradition, history, style. Just look at Coco Chanel’s apartment in Paris.

45

ONE OF THE BEST THINGS RIGHT NOW TO COLLECT INVESTMENT IS... Twentieth-century modern masters; painters like Motherwell and Pollock. IN THE AREA OF HOME ELECTRONICS, PEOPLE ARE ASKING FOR... It's not home theaters, it's not surround sound, it's televisions. Everywhere.They're even in the medicine cabinets. IN THE NEXT TEN YEARS THE MOST IMPORTANT THING IN DESIGN WILL BE... What I did 10 years ago, I'm doing now. What I did 20 years ago, I did 10 years ago and I'm doing now. Tried and true and traditional: It'll look fresh today and fresh 10 years from now. MY BIGGEST DESIGN MISTAKE WAS... On one project the finished sofa did not fit into the house—I thought about taking out the windows, but that didn't work, so I called the upholsterer and said he had to come and cut the sofa in half to get it into the living room. When it came time for them to move, the client called me and said, "The movers have been here for four hours, and they can't figure out how to get that sofa out. Did you take off the roof to get it in?" I told her I'd send the upholsterer over to cut it in half and put it back together again. MY FAVORITE ROOM TO DESIGN IS... Either the dining room or, if the house or apartment is large enough, the room you don't know what to do with. You can create a folly. Instead of a staid dining room, you can have a chinoiserie fantasy or go Etruscan with Greek pottery. I love when you can have a room that's playful. I CHANGE MY OWN INTERIORS... Only when I move. Whatever I do for myself I do because it was my goal, my intention; I love the result, and it stays. It may get more embellished over time, but it doesn't change fundamentally. THERE ARE MANY RULES DESIGNERS SHOULD BEAR IN MIND. ONE IS... We are the arbiters of style and must keep in mind color, scale and balance. Without that, you have no style. THE ORDER I FOLLOW WHEN I DESIGN IS... I always start with the largest room first—the nucleus of the house. But with every project it's a little different. If a client comes to me with a blank canvas, I have to extract what they want. Or they may come to me with a certain color or a

46

particular piece of furniture they want to use. I have no formula. I size up the client and determine what he or she is going to respond to first. EVERY HOME MUST HAVE... Dorothy Draper said ashtrays. For me, every home must reflect my clients' per sonalities. The environment was created for them. DESIGN LIKES AND DISLIKES... Likes: I love tradition. I love great comfort in every room and a sense of permanency without museum discomfort. Dislikes: I can look at and appreciate a museum-quality room, regardless of the investment, but it doesn't work if it's not about comfort. We see design trends that are wonderful for the moment, but how will it feel in three months or a year from now? So much of decorating is fashionable; I dislike decorating trends. MY PERSONAL DREAM HOUSE WOULD BE... I'm so simple! I'd love to be in a small clapboard house by the sea, in the Caribbean I may need one television; I'd definitely have slipcovers that I'd change with the seasons. I'd bring the things I collect with me. It would have tremendous comforts, but with a 21st-century sensibility about its functions, like air-conditioning, a wonderful kitchen, gracious baths. It would have a simplicity of finish and fittings. WHO OR WHAT HAS INFLUENCED MY STYLE... I've been influenced by so many people. When I was younger, for example, I was influenced by the very chic interiors Kalef Alaton was doing in California and by Angelo Donghia's house in Key West. Later, my interest turned to Mark Hampton – he understood architecture and thinking three-dimensionally and about color, scale and balance. He had the flexibility to work in so many different styles, yet they were sensibly organized. Of the designers alive during my lifetime, he has been the most influential for me. THREE ESSENTIALS FOR ENTERTAINING ARE... Good friends, good food and a beautiful environment. IF I COULD LIVE ANYWHERE (OTHER THAN WHERE I AM), IТ WOULD BE... Since I live in New York and Palm Beach it's pretty good. Later, I'd love to live in that clapboard cottage by the sea.

47

Библиографический список 1. «Architectural digest», January 2006. 2. The New Encyclopedia Britannica. Volume 13. – 1994. 3. Безручко, Е. Н. Английский для архитекторов / Е. Н. Безручко. – М.: Март, 2004. 4. Ивянская, И. С. Архитектура Англии / И. С. Ивянская. – М.: Высшая школа, 2003. 5. Иконников А. В. Зарубежная архитектура / А. В. Иконников. – М.: Стройиздат, 1982.

Учебное издание СОВРЕМЕННАЯ АРХИТЕКТУРА Методическое пособие по домашнему чтению на английском языке для студентов архитектурных специальностей дневного отделения высших технических учебных заведений Составители: ТРУБНИКОВА Наталья Валерьевна ГУСЕВА Оксана Геннадьевна Редактор Н. А. Евдокимова Подписано в печать 30.06.2006. Формат 60x84/16. Бумага офсетная. Печать трафаретная. Усл. печ. л. 2,79. Тираж 100 экз. Заказ Ульяновский государственный технический университет, 432027, г. Ульяновск, Сев. Венец, 32. Типография УлГТУ. 432027, г. Ульяновск, ул. Сев. Венец, 32.