The Image of New York City – Salute to Frank Lloyd Wright

By the end of May 2010 I attended the 11th MDM Conference in Kansas City. Right after the conference I flew to New York City to visit one of my best friends Awen, and to visit the amazing NYC. It was a cloudy Thursday, while the sun came out sometimes shortly. Without sunshine NYC was still struck me as one of the most amazing, fabulous, and impressive cities.
Besides the landmarks like Statue of Liberty, any building on the corner could become another landmark of NYC. The city is a live museum of modern and contemporary architecture. Actually, USA is the cradle of modern architecture. Two of the three most important architects of modernism from Europe went to the States in 1930s, Walter Gropius and Ludwig Mies Van der Rohe. Only Le Corbusier lived in Europe. Frank Lloyd Wright is one of the greatest modern architects from the States. If the number counts, 3 of those 4 are from Europe, while 3 of those 4 have lived in USA in the end. To trace Frank Lloyd Wright seems to be somehow one of my goals at traveling to the states, since I happened to visit his Robbie House in Chicago in the spring of 2005.

S.R. Guggenheim Museum is the last masterpiece of Frank Lloyd Wright’s work. It is really a pity that the museum was opened six months after Wright’s death. How did a 92-year old man think of lives in his last period of life? What kind of architectural work he liked to leave to the public? Was it to save the last to best? Getting off the subway line C at West 86th Street, I walked along the big lake in Central Park on the late afternoon. As I was approaching the east part of the city, I could almost see Solomon R. Guggenheim Museum from some view points. It is bigly-round, outstanding white, thus, remarkable. The air in Central Park was fresh, the walk was delighting, and I was like a sincere pilgrim.

I had imagined S.R. Guggenheim Museum for many times since many years. It would look outstanding and unbalanced with its partial reverse white cylinder. It would look huge and upscale on a narrow NYC street. It would look like a strange snail. It would look … But at that time when I came to stand in front of it, I lost all my words. It is beyond any of my imaginations.

S.R. Guggenheim Museum Building is complete due to the repeated round motif. Many round elements are applied in different sizes by the architect, from the main cylinder to detailed window frame. It is elegant, because of the simpleness. Only round and square elements are in use. It is demure due to the white cement façade with merely a few windows. The sculptural essential is just a featured part beside stars in urban spaces. This reduces the contrast to the environment somehow. It also makes the museum actually fit the environment on the Fifth Avenue much better. But it is not perfect, as many architectural critics have pointed out its sharp contrast to the typical Manhattan box buildings. The supplementary adjoining rectangular tower built in 1992 gives a good foundation of the old part. It makes the museum fit the street view better, while the other color than white does not influence the completeness of Wright’s masterpiece. The old part was not standalone any more, but got a steady background to lean. The museum is a compromise, because Wright gave up adopting his favorite red color for the façade. That kind of red façade does not belong to New York City’s color palette. The museum is even a little “insane”. A cylinder is not a good and appropriate form for museum design at all, because it is hard to display paintings on its curve interior walls. However, who cares these details except the curators?

What does Robbie House in Campus of Chicago University look like which was built a good half century before S.R. Museum? I found out some old photos from my last US trip. It looks like a kind of classical style. In the fact, it is not. It stretches to each direction and looks lower than its actual hight, in order to have a better dialogue with the ground. Frank Lloyd Wright never built a building without his stubborn innovation, whatever a big or a small innovation point. He was a great architect paving a revolutionary way.

The museum was close shortly before 6 pm. I was not able to go inside. But I got a Lego model of it with 280 pieces. I am making my Lego masterpiece of Solomon R. Guggenheim Museum.

Hackesche Höfe and Hackescher Markt, Berlin

As I attended the conference Intercarto Intergis 12 (2006) in Berlin, we were very lucky to have a nice conference organizer, Mr. Horst Kremer, who took us to many interesting places in Berlin as a local guider. I was struck by the Hackesche Höfe (Hacke’s Courtyards), which is located just at the Hackescher Markt (Hacke’s Market) at the subway station stop with the same name. It is the No. 1 sightseeing in Berlin from the locales’ viewpoint. Usually for the tourist, Brandenburg Tor and the others might be more famous worldwide. So I missed the courtyard, as we visited Berlin in 2003 for the first time.
What’s the special that makes the “Berliner” so proud of their Hackesche Höfe? It must be easy for each Chinese originally from Shanghai, if I say Hackesche Höfe is just another Xintiandi (新天地). There must also be similar places in other cities in China.
Hackesche Höfe contains 8 courtyards in all. The façades are diverse and colorful. Diversity is shown in the different façade building material ranging from mosaic bricks to common bricks, in the different colors used in one façade. This wall is in blue and white, while its neighbor wall is in orange. The architectural style is also a mixture. The German architect August Endell is an Art Nouveau architect who also studied philosophy and psychology. This expertise and academic backgrounds are quite special for architects. Maybe, this is why his design can still attract so many people 100 years later. Hackesche Höfe was opened in 1906. The idea is to have a common outdoor salon for many companies, clubs, as well as residential parts in this building complex. So people can share the courtyards to get certain atmosphere to have some events in common. This idea is still advanced, like many lofts in the office-shopping buildings and Xintiandi. It also proves that advanced ideas are based on the modernism principle “form follows function”. Since the courtyards are for the sharing purpose, they should have the versatility to meet preferences of enterprisers, businessmen, artists, and habitants. August Endell also applied Neo-baroque roofs and Egyptian Obelisks. However, at my first impression, Hackesche Höfe has the Art Déco style, though Art Déco was in fashion nearly 20 later than it was built. Maybe I was just impressed by the vertical lines on the façades.
Hackescher Markt has a longer history with the first document about 1672. It was a new center for barn areas in old Berlin. Later on, it developed to a commercial center with many Jew residents. After the World War II, it lost its prosperity in East Berlin, though it has been a German cultural heritage piece since 1972. The renovation work started in 1993 after the reunion of Germany. Since then it is a favorite place in Berlin with restaurants, cafés, galleries, workshops, and still flats. The immobile price in that area also becomes one of the most expensive areas, Just like Xintiandi.
There are still some differences between Xintiandi and Hackesche Höfe. Hackesche Höfe has just succeeded its original use function after the WWII and DDR break, while Xintiandi was redesigned to create such an entertaining environment with the old Shikumen (石库门 or “stone gates”) which was original designed only for living. It was stated in Wikipedia that Hackescher Markt was once Marx-Engels-Forum. But I don’t think. It is true that Xintiandi has an important historic memorial building in the neighborhood. Both have many new elements after the renovation. I assume some glass façades in Hackescher Markt might not be from 1906, but be built lately.

Deutsches Historisches Museum, Berlin

I am very glad that several of my best friends are coming to visit me this year. The first group – Ah-V and her family, my best friend I made since I was born, are coming by the end of August. I am motivated to update my blog by writing some city sightseeing. So I start with Berlin, one of my favorite cities in Europe, which Ah-V will visit. This afternoon I video phoned my best college friend Sheep, who has just arrived in Philadelphia as a visiting researcher at the Pennsylvania University. She is going to Washington, D.C. to visit our common best friend in the coming days. One stop must be I. M. Pei’s East Building of National Gallery of Art. I am jealous of her and would like to recap my visits to German History Museum in Berlin.

Deutsches Historisches Museum is located at a corner and a little hidden from the Boulevard Unter den Linden, as an extension of the existing museum building in new classical style after German Reunion. It should be the first architecture of 贝聿铭 in Germany. I discovered it by chance as I visited Berlin for the first time, because it could be recognized at first glance. The museum was already closed at that time and I went there additionally on the other morning and took a lot of non-digital pictures then. The common elements that Mr. Pei uses in most of his architecture are exposed in a more elegant way. It is a small museum in comparison to Mr. Pei’s other museum designs and is just located on a small street. So it is difficult to take a photo of the whole view from the narrow street. However, it does highlight its uniqueness and elegance. Mr. Pei applies a glass spiral cone at the building entrance which gives the simple geometry building some smartish flavor. Inside it is just a small rest area for visitors who can also experience the orchestrating of light and shadows in sunshine. The indoor space is free flowing with escalators, staircases and flyovers. The front huge curve glass walls make a composition of light and shadows on the concrete slabs and walls. Concrete slabs are indispensible in order to project the light and shadows from the transparent glasses. So it is somehow boring to construct buildings with only glasses or with only concrete slabs. Light and shadows make the architectural experiences changing at different daytime.

Triangle motif is one of favorite elements of I. M. Pei, which is repeated in this museum to enhance the flowing ambience. Besides, a large circle opening is used together with the flyovers, which is quite traditional Chinese. It symbolizes completeness and perfectness. Thus, the circle opening as well as the smooth glass and wall curves are re-lived by the triangles everywhere on the one hand. On the other hand, they smooth the potential visual conflicts caused by the triangles. Mr. Pei is good at using contrast. However, visitors can feel a kind of modesty and amiability and close interaction between human and architecture. The architectural details are elaborated as well. For example, the handrails are engraved in the concrete walls, so that no other material is needed. The pureness, the simplicity, and the delight make German History Museum a masterpiece of modern architecture indeed. If Berlin is visited, a visit to the museum is worthwhile.

Ghazni will be the Islamic Cultural City 2013

We have been working together with Department of Urban History at RWTH Aachen University for cultural heritage management in Afganistan and Pakistan within the German Excellence Research Cluster UMIC. The chair holder Professor Michael Jansen, also the head of Aachen Center for Documentation and Conservation (ACDC), works together with UNESCO and ICOMOS as an expert for cultural heritage conservation in the Middle East. On Tuesday I learned from Prof. Michael Jansen, that Ghazni in Afghanistan would be the Islamic cultural city of 2013. I looked for the information at our Virtual Campfire - ACIS and got some information about Ghazni.

This is what I get from ACIS:



Further Information for the site : GHAZNI
Latitude : 33°34'N Longitude : 68°27'E Province : GHAZNIDistrict : GhazniDescription (by Reference): A large urban site consisting of a vast area of mounds and ruins littered with sherds and building debris. The most conspicious remains are two elaborately decorated brick minarets or towers, both of which have only the first storey still standing, capped with modern tin roofs. Other remains are: the tomb of Sebuktegin on the hillside to the north of the minarets; the mausoleum of Shah Shahid or Muhammad Sharif Khan, a plain brick octagonal tomb, on a spur near the western minaret; the tomb of Mahmud, a modern building housing an extremely beautiful carved marble grave cover, in the village of Rauza; and the mausoleum of Abdur Razzaq, a plain brick building now used as the Museum of Islamic Art, also in Rauza. In addition, there are many elaborately carved grave stones on and near the site. Excavations have revealed two more buildings: a private house and a palace. The palace is a complex of buildings surrounding a central, marble paved courtyard. The most significant find was a long, decorated marble frieze with an inscription in Persian, 250 m long. Other finds include objects of glass, ceramic and bronze, decorative stuccos, paintings, marbles and tilework. [1] Location Description (by Reference): Ghazni Province. 136 km south of Kābul. The remains of the old city stretch eastwards between the new city and the village of Rauza [1] Period (by Reference): Ghaznavid & Ghurid, 11th-13th C. (Ceramic, documentary, stylistic, etc.); Timurid, 15th-16th C. (Stylistic). [1]

Ludwig-Erhard-Haus, Berlin

Berlin is getting to be one of the most modern cities in Europe. After the fall of the Berlin Wall in 1989, Berlin became the competition arena of renowned architects worldwide. I have not had any architecture excursions in Berlin. I took some pictures during my private and business trips and it could be nice to have some reviews in my blog.
In the most recent trip, I attended the LMC conference which was held in the Ludwig-Erhard-Haus (LEH) at Fasanenstrasse, near to the subway station of Zoologische Garten, the former central railway station of West Berlin. Ludwig-Erhard-Haus designed by the British architect Sir Nicholas Grimshaw was built from 1994-1998. It is opened to host conferences and other events related to economy. The economic issue is stressed, because Ludwig Erhard in his ministry as a federal chancellor first combined social economy and free market economy, which led to great economic progress in post war in Germany. It is also located beside the German Chambers of Industry and Commerce.
Sir Nicholas Grimshaw used to apply ellipse forms and curves for his architecture. LEH is featured with 15 steel beams in ellipse forms and large glass windows. There are two inside courtyards which collect sunlight for the building. Beside the courtyards six elevators are used as the main vertical transport means, because the steps are somewhat hidden, narrow, and inappropriate to the architectural scale. So you can always see awaiting people in front of the elevators. Fortunately, there are six fast elevators. There are also many irregular halls with columns in the middle of the space, so that only part of the room could be used for presentations. Electricity sockets are often missing for laptops in each room of such buildings nowadays.

Red Dot Design Museum, Essen

As we had a pleasant institute excursion to Zeche Zollverein in Essen, one of the UNESCO World Cultural Heritage, on May 30, I happened to discover the colocated Red Dot Design Museum. Various industrial products design, ranging from stationery, home appliance, to machinery is exhibited. The annualred dot design award is granted. The jury evaluates the competitors according to the following four principles: innovation degree, funktionality und environmental friendliness and compatibility.
In short, the red dot design principle is that design is fuction oriented, the same as the Bauhaus design theory Forms follow Function. So is the museum building: simple and unremarkable. It was built in 1930s as a boiler building for the new Shaft 12 to enhance cole mining in the Ruhr Area. The whole Shaft 12 buildings designed by Fritz Schupp and Martin Kremmer are of the Bauhaus style. After the last mining in 1986, the boiler building is no more needed, either. Sir Norman Foster renovate it into a museum, which maches the notorious red dot design. The most exhibits are displayed in the old industrial building, while visitors are led in the new flowing corridors started on the first floor. The corridors are actually just kind of fly-over in white slabs or in glass. Beside the corridors, there are also some exhibtion areas. Spirally, visitors can go to the forth floor which has also the smallest square. The spaces are smaller than a floor lower.
The internal spaces are communicative between the new and the old in a horizontal as well as a vertical way. Led by the fly-over, visitors have the best paths to visit all exhibits. There's no splendid spacious effects, while a dialogue between the old parts and the new one can be perceived quietly and sharply. Sir Norman Foster made it and told every visitors that museums can also be simple except for being exaggerated. It was a little warm inside, because of the closeness of the old building, maybe because of the boiler essential. With regard to the exhibits, many of them are listed in the catelogue and are available on the market.

Langen Foundation, Hombroich

I have heard of the Langen Foundation Museum located near Duesseldorf since it was about to be opened in 2004. This spring I visited it with friends in a sunny Easter Sunday. It was a little cold, however, splendid since it was the only sunny day in a long period of early spring.
A long narrow field path leads to the museum as well as the rocket station (sign: Raketenstation), which can only be droven by visitors, with green grasses and spring ambience around. Suddenly, we saw a special stone statue, then the glass cube flying on water, and cherry blossom in lines. It is the unique museum by Tadao Ando. And as usual, it is built of glass, beton slabs and water (if available), which integrates light perfectly. The outcoming rhythm of light and shadow on betons as well as in water can even make air much fresher. Simple geometry forms were composed in an interesting way, to shape interial spaces. Contasts between the static (beton) and dynamic (water), solidness (beton) and transparency (glass), white (beton) and green (grass) make a strong visual effect.
The Langen Foundation Museum mainly consists of a beton slab in C-curve with several door holes to welcome visitors in a neutral way, a beton cube in a glass cube for the exibition, and some small beton blocks for administration. All these three parts are located on a large free-style water pool and grasses organically. Surely, white gravel or sand is indispensible for as the bases, which is always used in Zen Garden to symbolize water. The main large exhibition hall is underground.
The Japanese collection was not shown, while a small Indian acient collection, Karl Lagerfeld's photography were on exhibition. Karl Lagerfeld's photos mostly show some abstract concepts or pattern in black and white. Some photos are about Zaha Hadid's mobile architecture, also in black and white. The concept is also brand new.
We went to Ratingen without visiting the Museum Island (Museuminsel) in Hombroich.