Paul Rudolph. For Perspecta Paul Rudolph 1961

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Paul Rudolph. For Perspecta Author(s): Paul Rudolph Source: Perspecta, Vol. 7 (1961), pp. 51-64Published by: on behalf of Perspecta. MIT PressStable URL: http://www.jstor.org/stable/1566866Accessed: 06-10-2015 18:54 UTC

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51 Rudolph

RUDOLPH

The Architect must be uniquely prejudiced. If

his work is to ring with conviction, he will be

completely committed to his particular way of

seeing the universe. It is only then that every man sees his particular truth. Only a few find

themselves in such a way. The various dictums of architectural schools

usually form the basis of the first works of an

architect. Many architects educated in the late

'30's and early '40's found themselves adapting the assorted prejudices of the International Style to the single family house in a particular region. This generation was probably lucky, for the

International Style's cant and limitations were

certainly preferable at that time, or perhaps

they were just more easily understood.

A growing awareness is causing many of this

generation to question some of the early dogmas,

especially the romanticisms regarding the ma-

chine, not because they were not partially valid,

but because they often failed miserably on

many levels, for the concepts were limited. There

are many ways of organizing a building or,

more importantly an environment; sometimes

alien ways are combined in a single building

or a group and disaster follows. The Architect

must search for his own way because there is

not yet a universal outlook, and there are

unique problems and unimagined possibilities. The International Style was only the opening chord in a great movement.

The site and the symbolism of the particular

building set the course. (Does respect for older

attitudes in architecture lead to a new electicism?)

A single building must be compatible with its

neighbors plus suggesting that which could come

next. Change is the only constant, but we do

not know yet how to build in a compatible

way with each other (witness Interbau, Idlewild,

etc.) The process of change is the constant

creative irritant.

This approach may lead to movie-set making unless there is an underlying attitude towards

social forces, a set of preferences, a translation

of the spirit of the times. It certainly leads to

buildings which seem inconsistent, not only with

their predecessors but with concurrent efforts.

One even addresses oneself to certain problems in one building and others in the next. All

problems can never be solved, indeed it is a

characteristic of the 20th century that architects

are highly selective in determining which problems

they want to solve. Mies, for instance, makes

wonderful buildings only because he ignores

many aspects of a building. If he solved more

problems his buildings would be far less potent. This paradox is heightened by the various com-

mitments to functionalism.

Our commitment to individualism is partially a reaction to growing conformity in the 20th

century, but more importantly an excitement

when we sense magnificent new forces and their

possibilities. There are too many new worlds

to explore, too many new problems crying for

solutions, for there to be a universal outlook

(every critic implores the gods to make us the

same) in an age of profound transition.

An age expresses through its artists certain

preferences and attitudes which are inherent to

that age, but no man can ascertain at the

time those which have validity.



Perspecta Seven 52

YALE UNIVERSITY MARRIED STUDENT

HOUSING; NEW HAVEN, CONNECTICUT

Stage 1

The first scheme was completely exposed concrete block with "Dox" plank floors above grade. All exposed horizontal surfaces were to be whitewashed macadam. Because of the estimates this proposal had to be abandoned.

Stage 2

The buildings now under construction are wood frame with brick veneer. The first floor is slab on grade; above floors are wood joist with an exposed concrete strip indicating panel position. The apartments each contain roughly 100 square feet more than those of the first scheme in lieu of the terraces.



53 Rudolph

YALE UNIVERSITY ART AND ARCHITECTURAL

SCHOOL BUILDING; NEW HAVEN,

CONNECTICUT

Stage 1

The first scheme was felt by the architect to be inappro- priate for the corner site. The succeeding are all varia- tions on the overlapping pinwheel; due to financial

fluctuations, the library floor is sometimes in, sometimes out.

Ground floor plan

-I

Third floor plan



Perspecta Seven 54

Perspective

Longitudinal section Transverse section



55 Rudolph

Stage 2

Ground floor plan

Transverse section

Longitudinal section

Third floor plan

:"?

i----



Perspecta Seven 56

Study Perspectives

i



57 Rudolph

Stage 3

Ground floor plan

Third floor plan

II UlJl |z rel~ -

LLA- ---- i



Perspecta Seven 58

Transverse section Longitudinal section

Stage 334 Model



59 Rudolph

Stage 4

Ground floor plan

Third floor plan

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\ .



Perspecta Seven 60

4..-I?-- -'e -?.;-- r~~.... ...

Perspective




61 Rudolph

Stage 5

Ground floor plan

Third floor plan



Perspecta Seven 62

Perspective




63 Rudolph

Stage 6

'"<"^. -ii. _.l^ - -l- :-.- ''- N~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~.m .-..-

~. AL- .....?r -.~.



Perspecta Seven 64

MILAM HOUSE; ST. JOHN'S COUNTY, FLORIDA

Stage 1

Until the first bidding this building was to be constructed

entirely of cast-in-place concrete. It is now concrete block and cast-in-place concrete. The building in general and the end walls in particular have been simplified as a result. Likewise, Mr. Rudolph feels that the living room

space is now clearer.


aw /"I / I ;4**'^/ i 'Ilk "' II ' , , '

oj o 7

,,-,

First floor plan Second floor plan Transverse section


First foor plan

Stage 2

Perspective

Second floor plan Transverse section



Paul Rudolph. For Perspecta Paul Rudolph 1961

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