![]() Also, Check other things they don’t teach you in architecture school.įirst of all, you have to be aware that architectural elevation design is like any other design in general, meaning that the basic rules and principles of design apply. Knowing how designing an architectural elevation can be a handful of tasks, mostly for students who are taking their first steps, we will give you here some tips on how to design an interesting elevation and present it in a way that communicates it properly. Such projects are quite dependent on their elevation designs for aesthetic appeal and catchiness. William E.As students at architecture school, we tend to give all our attention and most of our time to the architectural plan, but what happens “inside” the minds of architecture students? We try to solve zoning problems and circulation issues, which might never end, and then when we are hitting the deadline, comes the realization: “I haven’t worked on the elevation!”While some projects simply get the elevation design from their overall form, especially the ones that are meant to be ‘iconic’, other projects, where the function is the key player, may not have equally dynamic plans, regulated by essential requirements and codes.Learning Sciences and Human Development.Jackson School of International Studies.Originally written by Bill Reader for The Seattle Times. “His particular style did not have a lot of influence.” Ochsner acknowledges Yamasaki’s fame and success but says that, later in his career, he no longer was a leader. The criteria specify that honorees have spent a substantial part of their professional careers based in this region, at least two decades. He points out that Yamasaki, despite being born in Seattle, graduating from the UW and designing three iconic Seattle buildings, isn’t actually eligible for the honor. Jeffrey Karl Ochsner, a UW professor of architecture, is the former department chair, and a historian and author. He was absolutely talented, and he reached the heights of his profession.” “Whether you like the work or not, he deserves it. ![]() “I’m of the mind he deserves to be up there,” Sprague says. Tyler Sprague is an associate professor in the architecture department at UW who has written a book on Jack Christiansen, the late, pioneering engineer who worked with Yamasaki on several projects, including the Science Center.Īt UW, some notable regional architects are honored with their names placed in a special spot high in an auditorium. He graduated from Garfield High School, then, in 1934, the University of Washington’s Department of Architecture, where he was taught and inspired by pioneering architect Lionel Pries. Yamasaki certainly believed in the modernist style of “less is more,” but he also wondered, why not just a little more? Why can’t we have arches, ponds, green spaces, courtyards? Despite Yamasaki’s fame, which was at its peak in the early 1960s, not everyone appreciated his work some labeled him more a “decorator” than an architect.īorn in 1912 to Japanese immigrants, Yamasaki grew up poor on Seattle’s Yesler Hill. This was not the first, nor would it be the last, time his designs inspired vigorous debate. Architects past and present have referred to the grounds as “elegant, graceful, glamorous.” (Just don’t call the design “space gothic,” a term Yamasaki hated.) The Time story said the Science Pavilion “cast a spell,” and called the project a “modern Xanadu.” It was so wonderful, in fact, that Yamasaki had just been awarded a multimillion-dollar New York City job.Ī few experts criticized the utilitarian, plain-box style of the Science Pavilion buildings, but that’s the way it was with Yamasaki’s work, especially with the architectural elite. He nailed this one, designing a spot for rest and reflection amid the chaos of the fair. Yamasaki often said he wanted to include “serenity, surprise and delight” in his humanistic style of modernism, to create a peaceful oasis, to add beauty to the basics. ![]() ![]() The exterior wowed visitors, featuring stunning arches, playful fountains, water everywhere. ![]() The United States Science Pavilion, as it originally was known, was designed by Yamasaki for Seattle’s World’s Fair in 1962. The illustration behind Yamasaki’s face featured a gleaming vision of Seattle’s Pacific Science Center, which he had recently designed, to mostly ecstatic praise and a smattering of harsh criticism. 18, 1963, and in the days before they were given reality TV shows, that was about as famous as architects could get. Minoru Yamasaki appeared on the cover of Time magazine on Jan. Image Credit: Wally Gobetz CC BY-NC-ND 2.0 Published on SeptemThe World Trade Center as seen from Jersey City, 1999. ![]()
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