As our part 25th anniversary ceremonyWe are re -publishing the stories of formative magazine before our website is launched. The story appeared in the first Dwel’s July/August 2004 issue.
“So, tell me about your relationship with your father” It is usually not counted as a small thing. But the children of the famous architects depicted here know why we are interested in: because they were pulled on the co-dumped and endless architectural pilgrims as their father’s buildings, they have achieved an increased psychological relationship with architecture-the way it orders our experience.
Nathaniel Kahan remembers in his Oscar-Nams’ film My architect That his father, Luis kahan“There was no physical evidence that he was ever in our house, even a bow hanging in the closet.” The same cannot be said for this group; The houses in which they grow up often complete their father’s work. And yet all of them would surely be related to the discovery of Nathanial to understand their father better – and perhaps through their father’s architecture. While none of them are no longer architects (this clearly a significant criterion for frightening samples), all recognize all architecture as a consistent subtract in their life.
And yet this does not mean that there are hand-equipped modern shoples in their homes which are hand-equipped. Barcelona chairs And failed project model. In contrast, this group demonstrates a lower-grain discomfort with the spaces of their life, which is a calculation introspection about their domestic environment. From an early age, there have been constant architectural search, they find a difficult habit to break it. As a result, pictures that hold their subjects, where they are – between the trick, renewal and domestic sabbatical. Is the materials a different type of modernism, not furniture and line but of vision and personality.
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Nicholas Stern says Central Park West Apartments He never failed to catch the notice of visitors, even teenagers on their way to steal a beer. In 1967, his father, Robert M Stern, Dean of Yale School of Architecture and renewal, was a initial expression of postmordernism, then defined. “It examines the elements of classicism,” Nicholas, “but with fickle changes in decontrols,” space and planning. His parents got divorced, but his mother – who was marrying another architect long ago – still lives there, and its lessons remain with Nicolas. “I learned my own principle of architecture from my father, and I agree with it, whether it is through osmosis or genetics or just plain good taste.”
The work is close to the completion of the renewal of a townhouse designed, by his father – on a winding road in Greenwich village for Nicholas and his wife, courtney, an internal designer, an interior designer in the modernist architect firm. Debora BurkeNicholas, who is vice president Taconic BuildersA high-end contractor, never considered hiring any other architect, “Not in my wild dreams.” While the project is mainly an restoration- “I can only imagine page six New York Post: Historical protectionist Robert AM Stern Gut 1847 Greek Revival Townhouse for his son, builder, “Nicolas jokes-which has not banned some large gestures, such as a flowing ladder in a double-hit dining room.
Nicholas says: “I am one of the biggest fans of my father – if not the greatest.” Even he was running on his footsteps, going so far to enroll in Yale School of Architecture, although his father became a dean there years before. He lasted for only two weeks.
By the time she was three years old, Julia was Eisenman On the insistence of his father, Peter Easenman, especially dressed in white color, the theorist/Ringalder of the new-corebusian architectural click once said “New York Five”. And it was not just to him – all the walls of his revision drive apartment in New York were white. “In school, girls had Laura Ashley Wallpaper and Luxurious carpetingAnd I was so, ‘I want Laura Ashley Wallpaper!’ And my father said, ‘No. No, I will give you, it has a wall in your bedroom with one color. ‘So I found a blue wall. This way made me angry, because I was so, ‘Why can’t we just paint the whole room? ,
Whereas she used to spend summer as AU pair years ago Richard meerThe children, she understood why, “I knew that he was crazy. I knew that he was this architect and things were to be his way, but as a child I did not know what was really going.
Now there is no misunderstanding about sharing the story to Julia, with aspirations to direct a filmmaker in Hollywood. “If he cannot handle it, he should not have been given birth to me, because he knows that I am as stimulating as he is.”
And she is still fighting her modernist demons. She and her husband, Andy Beharman, Author Electroboy: A memoir of maniaRecently moved to the 1959 house in Hollywood Hills. But he first opposed it. “It was not comfortable!” She says. “But my growing up was either not comfortable. Obviously a large part of mine is ready for him.”
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Oren Safi, Habitat, Growed up in The Revolutionary An apartment construction of his father, architect Moshe SafiThe expo 67 was designed on the banks of the St. Lawrence River in Montreal. Its chalkblock system of stacked prefacious module was Oren’s first playground and later, his newspaper delivery route. “I knew every nook and cranny of that building,” they say. After his father went out, 13 -year -old Oren became a tour guide to visit the dignitaries.
natural habitat, Oren finds outContinues to influence his choice of his homes: New York City Shobox lived for 10 years, with a roof that Hudson had a roof, such as Habitat’s roofs saw St. Lawrence. At the moment, he and his wife, MJ Kang, a playwright and actor, have found themselves a 10 -acre Malibu avocado plantation guesthouse. “It always goes back to water and garden,” they say.
Architectural, both direct and circuit, remain a part of their life. Oren completed a master’s degree in architecture in Colombia, but he had an epiphene on half the way: ignoring the welling wall in Jerusalem in a summer in his father’s apartment, working on a paper about father and son Architects Allel and Iro Sarinan (“It is probably telling”), he flipped behind his notebook and started writing. A thick novel that became the basis of his cumbersome career as a playwright. Nevertheless, he has not been completely away from architecture. His recent drama, Private jokes, public placeBuilt this winter in New York, an architecture is set in a student’s final review.
Erica Stolar’s father, architectural photographer Ezra stoleerAs any architect, he did it to spread modern architecture. For many people, His reputed black-and-white photos TWA terminal, cigram building, and Guggenheim Museum, among others, are strong icons compared to buildings. But he spread modern architecture for his family, designed the open-plun house in an unconventional subdivision in Westchester, New York, where Erica grew up. At home, his process worked in reverse: If at work he captured architecture in two dimensions, he tried to make every scene with a picture at home. “Everything was just spotlight beautifully, but the light will always shine in your eyes,” she says.
While Erica has never gone to the spotlight, she still insists that the place where the walls collide with the floor are visible – an important detail in bringing clarity to the photographic space. And even though her husband, William Ketham, is a major right over American folk art and antiquities, she maintains a certain minimumism. “I get very nervous when there is stuff on them on the windows,” she says.
At work, clean lines come more easily – she is surrounded by modern architecture, or at least its visual representation. For the past 20 years, Erica has run Esto, the photo agency established her father, and turned it into a leading name in architectural photography. But his attitude about the relationship of architecture with its image is different from his father – honest in his dishonesty. “She insisted that photography is the only honest presentation, and that it is very much to talk about architecture,” she says. “I, on the other hand, do not think that photography is absolutely honest. Everything is going to manipulate it.”
